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Tyler Perry.
VIA WIKIMEDIA COMMONS
On the Auction Block
What’s it feel like to lose a bidding war to a celebrity six-year-old? Ask the director Tyler Perry, who, on the late-night TV show Jimmy Kimmel Live! on Monday, discussed ceding art-auction victory to Blue Ivy over a Samuel Levi Jones work that was taken home by the child (and, presumably, her parents, JAY-Z and Beyoncé) for $10,000. [Billboard]
An 1889 Vincent van Gogh canvas that hung in the actress Elizabeth Taylor’s living room for more than 50 years is coming up for auction at Christie’s in May. Its price tag: more than $35 million. [Architectural Digest]
Next month, a missing panel from a 1954–56 Jacob Lawrence work will head to auction at Swann Galleries, where it expected to bring in somewhere between $75,000 and $100,000. The painting depicts an abstracted version of a naval incident that happened during the run-up to the War of 1812. [The Magazine Antiques]
Lives
Hyperallergic reports from the funeral of the artist James Luna, who died earlier this month at age 68. At the ceremony, many reflected on Luna’s contribution to making work by indigenous artists more visible in America. [Hyperallergic]
Projects, Both New and Old
The New York Times follows the Stephen Petronio Company as it prepares to stage a version of Merce Cunningham’s 1970 piece Signals this week. Though Cunningham’s work is rarely described as entertainment, the dancers appear to be having a good deal of fun recreating the work. [The New York Times]
Tracey Emin, who is not exactly known for having a light touch, discusses her new public art project in Sydney—little bronze birds that appear under benches. “I want people to stop for a moment and feel better about everything,” she says. [The Guardian]
Flesh, Cages, Swings
Rebeccca Solnit writes on the art of Mona Hatoum, whose sculptures and performances often deal with buried traumas and nearly forgotten acts of violence. Solnit writes, “Seeing these works, your own body wakes up to itself; they are visual art, taken in through the eyes, but suggesting possibilities and disruptions of body in proximity to them, marbles on the floor to trip on, a grater of a bed that could shred your flesh, cages, swings.” [The Paris Review]
Market
Rachel Corbett profiles the beloved New York gallerist Mitchell Algus, who, for more than 25 years, has been committed to a reliable, if underrated, group of artists. According to the critic Holland Cotter, “His heart, and his history, are, always were, truly in it.” [Artnet News]
Could an increased presence of African art at the Art Dubai fair signal a stronger interest in work from the region on the part of Middle Eastern collectors? [The Art Newspaper]
New York’s Bortolami gallery now represents Lesley Vance, the painter known for her curlicuing abstract forms that appear to wrap around each other. [Press Release]
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