LONDON Love&Hate 愛と憎しみのロンドン

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(Lucian Freud’s Large Interior, W11 (after Watteau), 1981-3,今年観た絵画の中で最も衝撃を受けた作品)



ArtReview's Power 100 list reveals art-world battle for supremacy



Second, fourth and fifth place on the list, however, are occupied by the macho blast of the world's most dominant art dealers: Larry Gasgosian, Iwan Wirth and David Zwirner. US dealer Gagosian this week added a new Paris space to his already huge portfolio of galleries, spanning Los Angeles, Hong Kong, London, Rome, Athens, Geneva and New York. The new gallery, in the north-east outskirts of Paris, is in the grounds of Le Bourget airport, the most important hub for private aviation in the city – the billionaire equivalent of providing a carpark. In September, the Art Newspaper reported that the combined floor area of Gagosian's 13 premises is set to overtake that of Tate Modern.



Paul Noble




Despite the global economic crisis, the continued expansion of such high-end galleries reflects, according to Rappolt, the strength of the top end of the contemporary art market, bolstered by the desire among tycoons to "enter the weird social elite that collecting art creates". This elite is small but highly international, and this year is registered on the ArtReview list by the meteoric rise of Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani, who has shot up nearly 80 places since last year to No 11 on the list. A daughter of the emir of Qatar, she is the chair of the Qatar museums authority, and is rumoured to have spent, with her family, over £600m on western art over the past decade, including works by Damien Hirst and Mark Rothko.




Doyen of American critics turns his back on the 'nasty, stupid' world of modern art

Dave Hickey, a curator, professor and author known for a passionate defence of beauty in his collection of essays The Invisible Dragon and his wide-ranging cultural criticism, is walking away from a world he says is calcified, self-reverential and a hostage to rich collectors who have no respect for what they are doing.

"They're in the hedge fund business, so they drop their windfall profits into art. It's just not serious," he told the Observer. "Art editors and critics – people like me – have become a courtier class. All we do is wander around the palace and advise very rich people. It's not worth my time."

Hickey's outburst comes as a number of contemporary art curators at world famous museums and galleries have complained that works by artists such as Tracey Emin, Antony Gormley and Marc Quinn are the result of "too much fame, too much success and too little critical sifting" and are "greatly overrated".

"Money and celebrity has cast a shadow over the art world which is prohibiting ideas and debate from coming to the fore," he said yesterday, adding that the current system of collectors, galleries, museums and art dealers colluding to maintain the value and status of artists quashed open debate on art.

As a former dealer, Hickey is not above considering art in terms of relative valuation. But his objections stem from his belief that the art world has become too large, too unfriendly and lacks discretion. "Is that elitist? Yes. Winners win, losers lose. Shoot the wounded, save yourself. Those are the rules," Hickey said.


At 71, Hickey has long been regarded as the enfant terrible of art criticism, respected for his intellectual range as well as his lucidity and style. He once said: "The art world is divided into those people who look at Raphael as if it's graffiti, and those who look at graffiti as if it's Raphael, and I prefer the latter."


He also believes art consultants have reduced the need for collectors to form opinions. "It used to be that if you stood in front of a painting you didn't understand, you'd have some obligation to guess. Now you don't," he says. "If you stood in front of a Bridget Riley you have to look at it and it would start to do interesting things. Now you wouldn't look at it. You ask a consultant."






- Yoshi

こんにちは。一部のhigh artsがごく一部の目利きやエリートのパトロンによって支えられているのは古代以来変わらず、中世やルネサンスの美術も当時はそうだったと思います。そういう意味で、現代美術も現代のミケランジェロかもしれません。これは私の好きな演劇でも、あるいは学問、特に人文科学研究の世界でも同じですね。理系だと、最終的に何かの役にたつでしょうが、人文だと『古事記』研究でお腹が膨れることはないでしょうから。

2012.11.03 Sat 01:26 URL [ Edit ]

- 守屋

Yoshi さん


 矛盾するかもしれないですが、市民が芸術作品の選定や美術館の運営にかかわることには懐疑的です。必要であろうと考えるのは、「非難・批判」ではなくて「critical analysis」や「critical review」が活発に交わされる環境になればと。理想論かもしれないですが。
2012.11.03 Sat 14:01 URL [ Edit ]


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