Galleries

Dealer Francois Ghebaly Is Opening a Second Space in L.A., Joining a Growing Throng of Galleries in Hollywood


Veteran Los Angeles dealer Francois Ghebaly is expanding into a new space in Hollywood.

Next week—not coincidentally just ahead of the latest edition of Frieze Los Angeles—he will open a his second gallery in a raw, un-renovated space, left “as we found it.”

“I was looking for spaces and I came across one that was perfect for us,” Ghebaly told Midnight Publishing Group News. The dealer previously operated galleries in L.A.’s Chinatown and then Culver City in the early aughts. For the past decade, Ghebaly has run a space in downtown L.A. “We’ve been downtown about 10 years. We have a wonderful space and community there and it’s been very successful. We love what we’ve done there.”

The facade of Francois Ghebaly's new space in Hollywood. Image courtesy Francois Ghebaly.

The facade of Francois Ghebaly’s new space in Hollywood. Image courtesy Francois Ghebaly.

“We’re not moving away, we’re expanding,” he said of the new Hollywood locale, which is situated off of Santa Monica Boulevard, on Poinsettia Drive.

“We are going to have a wonderful gallery that kind of keeps the spirit of our downtown gallery.” Both spaces are housed in 1940s-era buildings with brick facades.

Ghebaly said the new site is “basically the very beginning of West Hollywood, so my immediate neighbors are Karma and Nino Meier, and right down the street from Jeffrey Deitch and Matthew Brown.”

Sharif Farrag, Bodach, (2019). Image courtesy the artist and Francois Ghebaly.

Sharif Farrag, Bodach, (2019). Image courtesy the artist and Francois Ghebaly.

The gallery will open with a show of work by Patrick Jackson, and then will shut down for a while. Ghebaly is in conversation with several architects about the space, but hasn’t decided what route he will take.

When the gallery reopens, it will be with a solo show from Sharif Farrag, a young L.A.-based artist. Farrag’s fantastical ceramic sculptures feature a mashup of imagery including body parts, cigarettes, pop-culture cartoon references and imagery from graffiti and skater culture as well as his Syrian-Egyptian heritage. “He’s been building on an incredible body of work,” said Ghebaly.

Patrick Jackson, Heads, Hands and Feet, (2011). Installation view, "Made in L.A. 2020: A Version," The Huntington, Los Angeles, CA.

Patrick Jackson, Heads, Hands and Feet, (2011). Installation view, “Made in L.A. 2020: A Version,” The Huntington, Los Angeles.

Los Angeles is “such an ever-changing city and there is a very exciting group of galleries and a great community that is developing in Hollywood,” Ghebaly said. “L.A. is such a large, wide city that there are many cities within L.A. itself. In Hollywood, something very exciting is happening right now, and I felt like it would be interesting to be a part of it.”

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In Milan, Miart Returns, With Its New Director Doing Everything—Including Sending Poetry—to Lure Galleries. Here’s How It’s Going


For Milan’s art scene, the twenty-fifth anniversary edition of Miart is an important event. In a city that was hard-hit by the Covid-19 pandemic, the return of the fair has reignited the Italian and specifically Milanese art market with a palpable sense of excitement. Still, Miart’s timing just one week before Art Basel brings its own problems, with several dealers scrambling to do both fairs. Some galleries including Hauser & Wirth, Thaddaeus Ropac, Massimo De Carlo, and Marian Goodman have withdrawn.

In addition to being the first art fair taking place in Milan since Miart’s last edition back in April 2019, this is also the first under new artistic director Nicola Ricciardi, former director of Turin’s art-and-innovation hub Officine Grandi Riparazioni. Held September 17-19 at Milano Convention Centre, it assembles 142 exhibitors, mostly Italian, down from 179 pre-pandemic.

“It’s been extremely challenging to take on the fair in this context, given the earthquake and breakdown of communication between fairs and galleries,” Ricciardi tells Midnight Publishing Group News. “My job was to rebuild the trust of the galleries and dismantle the silence, so in my first two months I called 200 blue-chip and emerging galleries. We decided not to give them a discount but do a smaller fair whilst keeping the same quality before reverting back to April next year.”

While most visitors are Italian, Ricciardi says that “20 American visitors are coming this weekend.”

To “break the silence,” Ricciardi started emailing poems to cultural players. The level of reciprocity inspired him to launch the project “Starry Worlds,” inviting artists having exhibitions in Milan to send verses of their favorite poems that are displayed on screens in the fair’s lounges. “Maurizio Cattelan sent me verses from a Kurdish poet and Simon Fujiwara sent me verses from Shakespeare,” he says.

Opening of Miart 2021. Photo by Paolo Valentini.

Opening of Miart 2021. Photo by Paolo Valentini.

A Packed Calendar

Returning to the newly intense September calendar is a wake-up call for galleries doing Miart and Art Basel back-to-back. “Last year we slowed down a lot but now we’re back in the rhythm of fairs,” says Paola Potena at Lia Rumma, which sold a sculpture by William Kentridge, $250,000-350,000, and a painting by Ettore Spalletti, €120,000, at the opening.

Several dealers echoed this sentiment. “It’s hard for our team and half of us have to leave at the weekend to set up the booth at Art Basel,” laments Astrid Welter, director of Kaufmann Repetto. The gallery is presenting a solo show on Adrian Paci, including paintings (one of which has sold for €20,000) and photography, to coincide with the unveiling of his public sculpture commissioned by ArtLine Milano in the city’s sculpture park on Saturday.

William Kentridge, <em>Processione di Riparazionisti</em> (2019). Photo © Roberto Marossi, Courtesy Galleria Lia Rumma, Milan/Naples.

William Kentridge, Processione di Riparazionisti (2019). Photo © Roberto Marossi, Courtesy Galleria Lia Rumma, Milan/Naples.

Nonetheless, exhibitors are pleased to be back in the swing of things. “It’s not easy, but we have the enthusiasm and adrenaline to do the fairs, and a physical presence is an essential element of our job,” says Michele Casamonti, director of Tornabuoni, which has sold works by Emilio Isgrò, €300,000-400,000, Alighiero Boetti, €100,000, and Mimmo Paladino, €200,000-300,000. “It’s courageous that Miart is doing two fairs in six months.”

The September calendar’s change of pace suggests the adaptability required by galleries during the pandemic. “For the last 18 months, we’ve had to adapt and readapt constantly and nobody knows when this situation will really end,” muses Patrice Cotensin, director of Galerie Lelong (Paris/New York), which has sold a 1970s photograph by David Hockney for €15,000. “We have a lot of Italian clients and everybody is pleased to see each other again,” Cortensin adds.

After a year of online viewing rooms, some galleries are racing around to exhibit in numerous fairs this fall. Miart is one of six in which Galleria Continua is participating, along with Art Paris, Art Shenzhen, Frieze, FIAC, and Artissima. “Our strength is that we are also local galleries, although we have international artists, as we have physical spaces in several cities,” says director Mario Cristiani, who has sold works by Loris Cecchini (€40,000) and Osvaldo González (€6,000). “Now it’s easier to do national rather than international fairs as the local [market] is becoming more important than before.”

Mary Ellen, <em>Because. (DIRTIER THAN STRONG) </em>(1999). © 1999 Mary Ellen Carroll/ MEC studios.Courtesy of the artist and Galerie Hubert Winter. Miart 2021, installation view, photo by Paolo Valentini.

Mary Ellen, Because. (DIRTIER THAN STRONG) (1999). © 1999 Mary Ellen Carroll/ MEC studios.Courtesy of the artist and Galerie Hubert Winter. Miart 2021, installation view, photo by Paolo Valentini.

The Allure of Milan

Certainly, Milanese collectors attended the buzzy preview in droves. Comparing Miart to more international fairs, Franco Calarota, director of Galleria d’Arte Maggiore, remarks, “There’s a fundamental difference between this and other fairs: Milanese collectors take taxis to come here. They don’t need to catch a plane.”

While Miart is missing some of the mega galleries, this edition marks the return of Franco Noero, which has devoted its booth to Lara Favaretto. “Normally Miart clashes with SP-Arte in Brazil in April so we were unable to come for the last few previous editions,” the gallery’s Pierpaolo Falone explains.

Francesca Gabbiani, <em>Surfette 18 (Kassia)</em> (2021). Courtesy Monica De Cardenas, Milan/Zuoz/Lugano.

Francesca Gabbiani, Surfette 18 (Kassia) (2021). Courtesy Monica De Cardenas, Milan/Zuoz/Lugano.

The calendar saturation has led some galleries to opt for Miart over Art Basel. “We prefer to support our city and not travel at the moment,” says Monica de Cardenas, whose gallery has sold works by Francesca Gabbiani (for €5,000), Gideon Rubin, and Zilla Leutenegger.

“Normally we participate in Liste but we’re not doing it this year as we’re waiting to enter the main fair,” says Lodovico Corsini, director of Clearing (Brussels/New York). At Miart, the gallery has a solo presentation on Marguerite Humeau (including sculptures, €28,000-48,000, and paintings, €25,000, inspired by the vegetal world), ahead of her sculpture commission for Sandretto Re Rebaudengo Art Park in Guarene, which will be inaugurated next month.

Marguerite Humeau, <em>Lunaria, the feeling that you might be witnessing the birth of new universes as you are staring at the starry skies on a very dark summer night</em> (2021). Photo © Benjamin Baltus. Courtesy of the artist and Clearing, New York/ Brussels.

Marguerite Humeau, Lunaria, the feeling that you might be witnessing the birth of new universes as you are staring at the starry skies on a very dark summer night (2021). Photo © Benjamin Baltus. Courtesy of the artist and Clearing, New York/ Brussels.

Some exhibitors see an advantage in Miart and Art Basel taking place one week apart. “It’s good that they’re very close because clients that do both can travel from one to the other,” says Pietro Sforza, London sales director of Robilant + Voena, which has sold works by Arnaldo Pomodoro, €30,000, and by Gilberto Zorio, €150,000. The gallery, however, is not participating in Art Basel.

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Running a Famous Artist’s Estate Is a Maze of Infighting and Deal-Making. Here’s How the Rothkos and Other Families Did it


When artist Robert Indiana was on his deathbed, lawyers for the Morgan Art Foundation, which holds the copyright to some of Indiana’s most famous works, were busy filing a lawsuit against the foundation Indiana had named as the sole beneficiary of his estate. Three years and millions of dollars in legal fees later, the dispute between the two parties was finally settled this June, but not before the confusion over who had authority over the work had a chance to upset Indiana’s market, as well as cast shadows on his artistic legacy.

The debacle wasn’t the first, nor the last time, the transfer of an artist’s estate has been embroiled in controversy. Artists rarely leave a crystal clear path for the direction of their legacy after their deaths, such as a framework for authenticating their work or clear instructions on who should have authority over their market.

And when money is involved, there is little way of knowing who really has the artist’s best interests at heart. As a result, the responsibility for interpreting these complex questions often falls to whomever inherits the estate, regardless of how well-equipped they are to deal with it.

“I never expected to do this work, and it wasn’t required that I do it either,” said Christopher Rothko. When his father, Mark Rothko, died in 1970, shortly followed by his wife Mary, V was just six years old. The value of Rothko’s work skyrocketed nearly overnight—prices more than doubled after 1971—and his heirs were left with questions over who to trust to manage their father’s artistic legacy when interested market parties were involved. After all, the business of contemporary art is sizeable, but the business of artists’ estates—when a finite supply of artwork meets the demand of the market—can be even bigger.

Christopher Rothko with Mark Rothko, No.64 (1960). Christopher Rothko in 2019. Photo by Ouriel Morgensztern.

Christopher Rothko with Mark Rothko, No.64 (1960). Christopher Rothko in 2019. Photo by Ouriel Morgensztern.

“I was young and didn’t have much knowledge of how galleries operated,” said Kate Prizel, Christopher’s older sister, who was 19 at the time of her father’s death. “That came with the lawsuit.” A year after her father’s death, Prizel sued the artist’s longtime gallery, Marlborough, to secure the return of a large body of work, despite an agreement that had granted the gallery exclusive rights to sell them.

The children accused the estate’s executors and the gallery of conspiring to defraud them out of their share of the estate by undervaluing work while Rothko was alive and stockpiling paintings. A court eventually concluded in 1975 that there was a conflict of interest, and ordered Marlborough to pay more than $9 million in damages and costs, and return the 658 Rothko paintings still in its possession.

The experience was a valuable lesson for the Rothko children, who have both embraced the challenges of being closely involved in the management of their father’s estate. “We really wanted to limit the role of the gallery after Marlborough,” said Prizel. “We needed to develop a level of trust and didn’t want to work exclusively with anyone anyway,” she added.

Pace Gallery has been the primary venue for selling Rothko’s work since 1978, and will show a retrospective this fall. Despite the arrangement, Rothko’s children have always kept a tight grip on their father’s market. “While we do not control the secondary market, we set the price for our own works,” said Prizel.

“Sometimes we would bring an unusual work for sale, or something that had not been sold before, and we would create a market for it,” Christopher Rothko added. “For the rest, we keep track of prices and auction results from afar. I never set foot in an auction house.”

Abstract Expressionist artist Mark Rothko (1903-1970), during his MoMA exhibition, New York City, March 1961. Photo by Ben Martin/Getty Images.

Abstract Expressionist artist Mark Rothko (1903-1970), during his MoMA exhibition, New York City, March 1961. Photo by Ben Martin/Getty Images.

The Importance of Trust

Other heirs have not found it so easy to control the direction of their parent’s legacy. Sometimes, this has been because the artist implemented more rigid structures before their death. Henry Moore, for example, established a charitable foundation to which he conferred ownership of all of the works he produced in exchange for an annual salary. After Moore’s death, his daughter Mary took the Henry Moore Foundation to court over ownership rights to some of the work when she disagreed with the foundation’s plans to expand the artist’s family home, which she felt was not in line with what her father would have wanted. She lost.

Elsewhere, family in-fighting has done more harm to the legacy than good. In Germany, the descendants of Bauhaus artist Oskar Schlemmer fought each other so often in court it prevented pretty much all publications, exhibitions, and comprehensive academic research. “It ultimately reduced access to the work,” said Loretta Würtenberger, co-founder of the Institute for Artists’ Estates and author of The Artist’s Estate: A Handbook for Artists, Executors, and Heirs. According to Würtenberger, a successful estate must involve new generations of collectors, academics, and curators who will have fresh views of the work. “That can only work with a certain freedom, like opening the archives and letting people publish their own findings,” she added. 

Students dance to the opening of the Bauhaus Museum Dessau with stage masks, which go back to Oskar Schlemmer and the Bauhaus. Photo by Hendrik Schmidt/picture alliance via Getty Images.

Students dance to the opening of the Bauhaus Museum Dessau with stage masks, which go back to Oskar Schlemmer and the Bauhaus. Photo by Hendrik Schmidt/picture alliance via Getty Images.

As one end of the gallery market has swelled to mega proportions, many galleries have developed machines that are well-equipped to deal with the sophisticated questions faced by those entrusted with an artist’s estate. These big businesses know exactly how to encourage new scholarship, secure museum placements, and manage the flow of works to the primary market that will ultimately benefit an artist’s historical legacy. Meanwhile, securing the trust of the heirs to gain representation of an artist’s estate and its inventory can pay off big time.

That’s exactly what Galerie Perrotin has been banking on. After abstract artist couple Hans Hartung and Anna-Eva Bergman died childless, a foundation was set up to manage their estate. Through his work and research, French scholar and curator Matthieu Poirier got acquainted with the Foundation Hartung Bergman, and in 2012, when it was looking for a new gallery, Poirier introduced them to Emmanuel Perrotin, for whom he had previously curated a show of Jesus Rafael Soto’s work. 

“Emmanuel immediately offered to put on a museum-like show in his space. He also asked MoMA for loans, simply because I told him it was needed,” Poirier said. “Very few places have the will and manpower to care for estates the way he does.” The gallery was eventually rewarded by signing contracts to represent both estates. Between 2012 and 2016, three Hartung paintings sold at auction for at least $300,000. Between 2017, the date of the Hartung exhibition at Perrotin, and 2021, the record grew five fold, according to Midnight Publishing Group’s Price Database. 

Hauser and Wirth is another European mega-gallery that has been rapidly expanding its roster of artist estates, which today weigh in at 37. Last November, it announced that it would start working with the estate of François Morellet.

The French artist had signed over sole ownership of his estate to his wife Danielle before he died in 2016, which his son, Frédéric Morellet, said was to ensure there were no arguments over the inheritance rights. “My mother was the sole owner of the estate,” Morellet said, adding that for this to work, he and his two brothers had to give up their own inheritance rights. Danielle and Frédéric have been managing the legacy since then.

The Morellets were introduced to Hauser and Wirth by a mutual friend at a time when the family wanted to simplify the organization of the estate, paving the way for the next generation to eventually take over. Frédéric Morellet said the opportunity was too good to pass up: “We were convinced that amongst the mega-galleries, they were one of the most respectable and prestigious ones, and that they would be able to secure Morellet’s legacy in art history.”

Carlos Cruz-Diez Jr. Director of the Atelier Cruz-Diez, Paris @ Atelier Cruz-Diez Paris / Photo: ECL © Carlos Cruz-Diez / Bridgeman Images 2021.

Carlos Cruz-Diez Jr. Director of the Atelier Cruz-Diez, Paris @ Atelier Cruz-Diez Paris / Photo: ECL © Carlos Cruz-Diez / Bridgeman Images 2021.

Legacy Planning

While facing-up one’s own death can be daunting, the historical record has shown that investing time in estate planning will ultimately support the market and in turn an artist’s place in art history. And contemporary artists working today seem to be taking their own legacies more seriously than ever. The British Abstract painter Frank Bowling has had one eye on his legacy for several decades. Among his preparations for the future were a late-career switch in galleries to Hauser and Wirth, and sending his sons to take a crash course in estate management.

Before he died, the Venezuelan Op artist Carlos Cruz-Diez was also keen to secure his artistic future. “My father was very articulate about his wishes for his legacy,” said Carlos Cruz-Diez Jr., who is one of several artist’s children taking part in a talks series on the topic at Newlands House Gallery in Sussex, U.K. He added that the discussion started after his mother died, when his father was 81 years old. They established the Cruz-Diez Foundation in 2005 to preserve a collection of works selected by the artist, with the clear mission of preserving and promoting his life and work. “My father was involved in the foundation’s projects just as much as he was in his studio,” Cruz-Diez Jr. noted.

By the time the artist died in 2019, the family had been working together for several decades. The estate and the foundation are still run by family members working together with a select few galleries to promote the estate around the globe.

“Managing the commercial aspect of my father’s work is a collaborative effort. As owners of the works, the family has the last word on the number of works available and establishing prices,” Cruz-Diez Jr. said. “Our commercial partners enrich our process with their knowledge of the market and help us maintain the delicate balance between supply and demand.”

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Who’s in and Who’s Out at the 2021 Art Basel Fair in Switzerland This September? Here’s the Full List


Art Basel organizers have just unveiled the exhibitor lineup for the next IRL edition of the fair, set to take place in Switzerland in late September.

Today, organizers released a list of 273 exhibitors, down slightly from the 290 participants in 2019. Of the galleries listed, two dozen are first-time participants.

All will have a physical presence at the fair, and all are also invited to participate in the online viewing room, but the latter is optional.

Among the first-time exhibitors from New York are Bridget Donahue, Kasmin, Lyles and King, Queer Thoughts, and Venus Over Manhattan. Joining from London are Emalin and Union Pacific; from Paris is Galerie Jérôme Poggi; and from Buenos Aires is Isla Flotante.

“While the pandemic has been a time of resilience and innovation, it has not always been one of discovery—patrons have often not been able to discover the work of new artists,” said Art Basel global director Marc Spiegler in a statement. “Galleries have not had ample opportunities to meet new collectors who can start to engage with and then later sustain their programs. That’s why it’s so important to be able to stage our show again in person, while at the same time building upon the digital innovations of the past year to continue engaging the broadest possible audiences worldwide.”

See below for the list of all the galleries participating in each of Art Basel’s sections this year, as well as the roughly 60 that are not returning. 

GALLERIES

47 Canal, New York
A Gentil Carioca, Rio de Janeiro
Miguel Abreu Gallery, New York
Acquavella Galleries, New York, Palm Beach
Air de Paris, Romainville
Galería Juana de Aizpuru, Madrid
Andréhn-Schiptjenko, Paris, Stockholm
Antenna Space, Shanghai
Applicat-Prazan, Paris
The Approach, London
Art : Concept, Paris
Alfonso Artiaco, Naples
von Bartha, Basel, S-chanf
Galerie Guido W. Baudach, Berlin
galería elba benítez, Madrid
Bergamin & Gomide, São Paulo
Bernier/Eliades, Athens, Brussels
Daniel Blau, Munich
Blum & Poe, Tokyo, Los Angeles, New York
Marianne Boesky Gallery, Aspen, New York
Tanya Bonakdar Gallery, New York, Los Angeles
Galerie Isabella Bortolozzi, Berlin
BQ, Berlin
Galerie Buchholz, Berlin, Cologne, New York
Buchmann Galerie, Berlin, Lugano
Cabinet, London
Campoli Presti, Paris, London
Canada, New York
Galerie Gisela Capitain, New York
Cardi Gallery, Milan, London
carlier gebauer, Berlin, Madrid
Carlos/Ishikawa, London
Galerie Carzaniga, Basel
Casas Riegner, Bogota
Galeria Pedro Cera, Lisbon
Cheim & Read, New York
Chemould Prescott Road, Mumbai
ChertLüdde, Berlin
Mehdi Chouakri, Berlin
James Cohan Gallery, New York
Sadie Coles HQ, London
Contemporary Fine Arts, Berlin
Galleria Continua, São Paulo, Beijing, Les Moulins, Habana, Paris, Rome, San Gimignano
Paula Cooper Gallery, New York, Palm Beach
Pilar Corrias, London
Galleria Raffaella Cortese, Milan
Galerie Chantal Crousel, Paris
Thomas Dane Gallery, London, Naples
Massimo De Carlo, Hong Kong, Paris, Milan, London
Jeffrey Deitch, Los Angeles, New York
dépendance, Brussels
Ecart, Geneva
Galerie Eigen + Art, Berlin, Leipzig
galerie frank elbaz, Paris, Dallas
Essex Street, New York
Experimenter, Kolkata
Konrad Fischer Galerie, Berlin, Düsseldorf
Foksal Gallery Foundation, Warsaw
Fortes D’Aloia & Gabriel, Rio de Janeiro, São Paulo
Fraenkel Gallery, San Francisco
Peter Freeman, Inc., New York, Paris
Stephen Friedman, Gallery London
Frith Street Gallery, London
Gagosian, New York, Beverly Hills, London, Paris, Le Bourget,
Basel, Rome, Athens, Hong Kong, Geneva
Galerie 1900-2000, Paris
Galleria dello Scudo, Verona
gb agency, Paris
Gladstone Gallery, New York, Brussels
Galería Elvira González Madrid
Goodman Gallery. Johannesburg, Cape Town, London
Marian Goodman Gallery. New York, Paris
Galerie Bärbel Grässlin, Frankfurt
Gray, Chicago, New York
Alexander Gray Associates, New York, Germantown
Howard Greenberg Gallery, New York
Greene Naftali, New York
greengrassi, London
Galerie Karsten Greve, Cologne, Paris, St. Mortiz
Cristina Guerra Contemporary Art, Lisbon
Galerie Michael Haas, Berlin
Hauser & Wirth, Hong Kong, London, Los Angeles, New York,Somerset, St. Moritz, Zurich, Gstaad, Southhampton
Hazlitt Holland-Hibbert, London
Herald St, London
Galerie Max Hetzler, Paris, Berlin, London
Hollybush Gardens, London
Edwynn Houk Gallery, New York
Xavier Hufkens, Brussels
A arte Invernizzi, Milan
Taka Ishii Gallery, Tokyo
Bernard Jacobson Gallery, London
Alison Jacques Gallery, London
Galerie Martin Janda, Vienna
Annely Juda Fine Art, London
Kadel Willborn, Düsseldorf
Casey Kaplan, New York
Karma International, Zurich
kaufmann repetto, Milan, New York
Sean Kelly New York
Kerlin Gallery, Dublin
Anton Kern Gallery, New York
Kewenig, Berlin, Palma de Mallorca
Galerie Peter Kilchmann, Zurich
König Galerie, Berlin, London, Seoul
David Kordansky Gallery, Los Angeles
KOW, Berlin
Kraupa-Tuskany Zeidler (K-T Z), Berlin
Galerie Krinzinger, Vienna
Nicolas Krupp, Basel
Kukje Gallery / Tina Kim Gallery, Busan, Seoul
kurimanzutto, Mexico City, New York
Galerie Lahumière, Paris
Landau Fine Art, Montreal, Meggen
Layr, Vienna, Rome
Simon Lee Gallery, London, Hong Kong
Lehmann Maupin, New York, London, Seoul
Tanya Leighton, Berlin
Galerie Lelong & Co., Paris, New York
Lévy Gorvy, New York, London, Paris, Hong Kong
Galerie Gisèle, Linder Basel
Lisson Gallery, London, New York, Shanghai, East Hampton
Luhring Augustine, New York
Luxembourg + Co., London
Kate MacGarry, London
Madragoa, Lisbon
Magazzino, Rome
Mai 36 Galerie, Zurich
Edouard Malingue Gallery, Hong Kong
Gió Marconi, Milan
Matthew Marks Gallery, New York, Los Angeles
The Mayor Gallery, London
Fergus McCaffrey, New York, Tokyo, St. Barth
Galerie Greta Meert, Brussels
Anthony Meier Fine Arts, San Francisco
Galerie Urs Meile, Beijing, Lucerne
Mendes Wood DM, São Paulo, New York, Brussels
kamel mennour, Paris, London
Meyer Riegger, Berlin, Karlsruhe
Galleria Massimo, Minini Brescia
Victoria Miro, Venice, London
Mitchell-Innes & Nash, New York
Mnuchin Gallery New York
Modern Art, London
Jan Mot, Brussels
mother’s tankstation limited, Dublin, London
Galerie Vera Munro, Hamburg
Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna
Galerie Nagel Draxler, Berlin, Cologne, Munich
Richard Nagy Ltd., London
Edward Tyler Nahem, New York
Helly Nahmad Gallery, New York
Galerie Neu, Berlin
neugerriemschneider, Berlin
Galleria Franco Noero, Turin
David Nolan Gallery, New York
Galerie Nordenhake, Berlin, Mexico City, Stockholm
Galerie Georg Nothelfer, Berlin
Galerie Nathalie Obadia, Brussels, Paris
OMR, Mexico City
Pace Gallery, New York, London, Hong Kong, Palo Alto, Seoul,Geneva, East Hampton, Palm Beach
Maureen Paley, Hove, London
Peres Projects, Berlin
Perrotin, Hong Kong, Shanghai, Paris, Tokyo, Seoul, New York
Petzel, New York
Galerie Francesca Pia, Zurich
Galeria Plan B, Berlin, ClujGregor Podnar, Berlin
Galerie Eva Presenhuber, Zurich, New York
ProjecteSD, Barcelona
P.P.O.W, New York
Galeria Dawid Radziszewski, Warsaw
Almine Rech, Brussels, Shanghai, Paris, London, New York, Aspen
Reena Spaulings, Fine Art Los Angeles, New York
Regen Projects, Los Angeles
Thaddaeus Ropac, London, Paris, Salzburg
Lia Rumma, Milan, Naples
Salon 94, New York
Esther Schipper, Berlin
Galerie Rüdiger Schöttle, Munich
Galerie Thomas Schulte, Berlin
Sfeir-Semler Gallery, Hamburg, Beirut
Jack Shainman Gallery, New York
ShanghART Gallery, Beijing, Shanghai, Singapore
Sies + Höke, Düsseldorf
Sikkema Jenkins & Co., New York
Skarstedt, London, East Hampton, New York, Paris
Skopia / P.-H. Jaccaud, Geneva
Société, Berlin
Galerie Pietro Spartà, Chagny
Sperone Westwater, New York
Sprovieri, London
Sprüth Magers, Berlin, London, Los Angeles
Nils Stærk, Copenhagen
Galerie Gregor Staiger, Zurich
Stampa, Basel
Standard (Oslo), Oslo
Galleria Christian Stein, Milan
Stevenson, Amsterdam, Cape Town, Johannesburg
Galeria Luisa Strina, São Paulo
Take Ninagawa, Tokyo
Templon, Brussels, Paris
Galerie Thomas, Munich
Tokyo Gallery + BTAP Beijing, Tokyo
Tornabuoni Art, Paris, Florence, Forte dei Marmi, Milan, Crans Montana
Travesía Cuatro, Guadalajara, Mexico City, Madrid
Galerie Tschudi, Zuoz
Tucci Russo Studio per l’Arte Contemporanea, Torino, Torre Pellice
Galerie Georges-Philippe & Nathalie Vallois, Paris
Van de Weghe, East Hampton, New York
Vielmetter Los Angeles, Los Angeles
Vitamin Creative Space, Beijing, Guangzhou
Galleri Nicolai Wallner, Copenhagen
Galerie Barbara Weiss, Berlin
Wentrup, Berlin
Michael Werner Gallery, New York, East Hampton, London, Trebbin
White Cube, Hong Kong, London
Barbara Wien, Berlin
Galerie Jocelyn Wolff, Romainville
Galerie Thomas Zander, Cologne
Zeno X Gallery, Antwerp
ZERO… , Milan
David Zwirner, New York, London, Paris, Hong Kong

 

EDITION

Niels Borch Jensen Gallery and Editions, Copenhagen, Berlin
Cristea Roberts Gallery, London
Sabine Knust, Munich
Lelong Editions, Paris
Carolina Nitsch, New York
Paragon, London
Polígrafa Obra Gràfica, Barcelona
René Schmitt, Westoverledingen
Susan Sheehan Gallery, New York
STPI, Singapore

FEATURE

Mira Madrid. Madrid (Juan Downey)
Ben Brown Fine Arts, Hong Kong, London, Palm Beach (Lucio Fontana)
Ellen de Bruijne Projects, Amsterdam Pauline (Curnier-Jardin)
James Fuentes, New York (Alison Knowles)
Galerie Christophe Gaillard, Paris (Michel Journiac)
Garth Greenan Gallery, New York (Howardena Pindell)
Hosfelt Gallery, San Francisco (Liliana Porter)
Kasmin, New York (Lee Krasner)
David Lewis, New York (Mary Beth Edelson)
Loevenbruck, Paris (Jean Dupuy)
Lyles & King, New York (Mira Schor)
Galerie Max Mayer, Düsseldorf (Irena Haiduk)
Mignoni, New York (Donald Judd, Josef Albers)
Mulier Mulier Gallery, Knokke-Zoute (Art & Language)
Galleria Lorcan O’Neill Roma, Rome (Giorgio Griffa)
P420, Bologna (Ana Lupaș)
Galerie Jérôme Poggi, Paris (Kapwani Kiwanga)
Silverlens Metro, Manila (Pacita Abad)
Galerie Barbara Thumm, Berlin (Jo Baer)
Upstream Gallery, Amsterdam (JODI)
Vedovi Gallery, Brussels (René Magritte)
Venus Over Manhattan, New York (Peter Saul)
waldengallery, Buenos Aires (Feliciano Centurión)
Galerie Zlotowski, Paris (Stéphane Mandelbaum)

STATEMENTS

Bodega, New York (Dena Yago)
Bureau, New York (Diane Severin Nguyen)
Commonwealth and Council, Los Angeles (Rafa Esparza)
Company Gallery, New York (Jonathan Lyndon Chase)
Bridget Donahue, New York (Jessi Reaves)
Emalin, London (Evgeny Antufiev)
Lars Friedrich, Berlin (Min Yoon)
High Art, Paris, Arles (Matt Copson)
Isla Flotante, Buenos Aires (Andrés Pereira Paz)
JTT, New York (Elaine Cameron-Weir)
LambdaLambdaLambda, Pristina (Hana Miletić)
Magician Space, Beijing (Liu Yefu)
Marfa’, Beirut (Vartan Avakian)
Queer Thoughts, New York (Diamond Stingily)
Jessica Silverman, San Francisco (Rose Bean Simpson)
Simone Subal Gallery, New York (Cameron Clayborn)
Temnikova & Kasela, Tallinn (Edith Karlson)
Union Pacific, London (Caroline Mesquita)

 

2019 PARTICIPANTS NOT RETURNING

303 Gallery, New York
Art Concept, Paris
Barro Arte Contemporáneo, Buenos Aires
Bortolami, New York
Gavin Brown, New York (now with Gladstone)
Di Donna, New York
Annet Gelink, Amsterdam
Gmurzynska, New York, Zug, Zurich
Galerie Hopkins, Paris
Catriona Jeffreies, Vancouver
Jahn und Jahn, Munich
Kicken, Berlin
Klemm’s, Berlin
Andrew Kreps, New York
Galerie Knoell, Basel
Long March Space, Beijing
Philip Martin Gallery, Los Angeles
Metro Pictures, New York
Marlborough, New York, London
The Modern Institute, Glasgow
Pace/MacGill, New York
Galerie Alice Pauli, Laussane
mfc – michèle didier, Brussels, Paris
Durham Press, Durham
Atelier-Editions, Fanal, Basel
Gemini G.E.L., Los Angeles
Two Palms, New York
The Breeder, Athens
Corbett vs. Dempsey, Chicago
Hales, London, New York
Croy Nielen, Vienna
Kohn Gallery, Los Angeles
Galeria Jaqueline Martins, São Paulo

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Lévy Gorvy Is Dedicating All Four of Its Global Galleries to Mickalene Thomas, a Growing Art-Market Force, This Fall


Mickalene Thomas is going to be all over the world this fall. The artist’s gallery, Lévy Gorvy, is devoting all of its spaces—in New York, London, Paris, and Hong Kong—to a four-part exhibition by the artist that will open on a rolling basis in September and October.

Thomas, who previously showed with Lehmman Maupin, specifically teamed up with Lévy Gorvy for the project.

“I’ve known Mickalene her entire career,” gallery co-founder Dominique Lévy told Midnight Publishing Group News. “I felt that if she had the time, the space, and the creative energy it would be extraordinary to have an exhibition that unfolded in four parts. Wherever you are in our four galleries you can see physical works, and you can still experience the full exhibition online. To me this is really the world of tomorrow.”

The show, titled “Beyond the Pleasure Principle,” will include paintings, installations, and videos that continue Thomas’s distinctive exploration of the Black female body “as a realm of power, eroticism, agency, and inspiration,” according to a statement from the gallery.

Thomas’s latest large-scale “Jet” paintings—in which she reclaims images from vintage Jet magazine pin-up calendars—will be shown in New York. Her “Jet Blue” series—which re-situates historical source material to offer a contemporary vision of beauty and identity, will be on view in London. The Paris gallery will feature “Tête de Femme,” Thomas’s reckoning with art-historical predecessors including Picasso, Leger, and Warhol, while Hong Kong will highlight large-scale “Resist” paintings, which focus on Black American civil-rights activism.

Prices for the primary market works range from about $350,000 to $550,000, according to Lévy.

Mickalene Thomas, Resist #2 (2021). © Mickalene Thomas. Courtesy of the Baltimore Museum of Art.

Mickalene Thomas, Resist #2 (2021). © Mickalene Thomas. Courtesy of the Baltimore Museum of Art.

Last month, Thomas’s painting Racquel Reclining Wearing Purple Jumpsuit (2016), soared to $1.8 million at a Christie’s evening sale, roughly triple its high $600,000 estimate, and setting a new record for the artist. Several months earlier, in December 2020, another painting, I’ve Been Good to Me (2013), sold at a Phillips New York evening sale for $901,200, also a price that was triple its high $300,000 estimate.

“Auctions will do what auctions do,” Lévy said. “We want to keep the market attractive for collectors, for patrons, for museums, and we want to expand the market,” which means being careful about where and who the gallery sells to.

In addition to strong demand in the U.S., Thomas also has a growing base of fans in Europe, particularly in Paris. In Asia, there is interest, but not yet a following, Lévy said. “We’re hoping to create the same kind of response to her work in Asia.”

The fall show also coincides with the global release of the first monograph devoted to Thomas’s work. It will be published by Phaidon in November.

“Beyond the Pleasure Principle” opens September 9 in New York, September 30 in London, October 7 in Paris, and October 14 in Hong Kong.

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