George Lindemann Journal by George Lindemann "Camille Henrot: An Art World 'It Girl'" @wsj by Ellen Gamerman

George Lindemann Journal by George Lindemann "Camille Henrot: An Art World 'It Girl'" @wsj by Ellen Gamerman

RESTLESS ART Camille Henrot says she's inspired by eBay, turtles and nail polish, among other sources, for her videos, like 'Grosse Fatigue,' above. © Camille Henrot/ADAGP/Silex Films/kamel mennour, Paris

Turtles figure prominently in artist Camille Henrot's ambitious video chronicling the history of the world in 13 minutes. She sees the creatures as symbols of a prehistoric past and a burdened future. "The turtle, she's slow because she is carrying this massive round thing—it's like a figure of Atlas," she says.

Thinking hard about reptiles—and most everything else—is a hallmark of the 35-year-old French intellectual's work. On the heels of that video, "Grosse Fatigue," which won her the Silver Lion award for most promising young artist at the recent Venice Biennale, the artist is unveiling her first comprehensive U.S. museum exhibit. "Camille Henrot: The Restless Earth" opens Wednesday at the New Museum in New York.

The show features her abstract video telling the story of humankind through quick cuts of images like turtles and eyeballs, dead birds and oranges, fizzy water and the cosmos. Other pieces on view include her works on paper and a new installation of literature-inspired Japanese ikebana flower arrangements.

This spring, the New Museum is dedicating separate floors to three young artists rather than doing a group show. "It's a way to give exposure, to show the artists who are changing how art is being made," says curator Gary Carrion-Murayari. "Camille was a very easy choice for us in that respect."

Ms. Henrot created "Grosse Fatigue" during an artist fellowship at the Smithsonian Institution in Washington last year. She scoured the collections, filming employees opening drawers of exotic-bird specimens, flipping through files filled with dead bees, and so on. The film advances quickly through time by using overlapping windows on a computer desktop—search results from the Smithsonian's database. She incorporated her own footage and studio shots of brightly painted fingernails—a nod to her discovery that even the weightiest words in a Google search often seem to match the name of a nail polish.

It wasn't a solitary effort: Ms. Henrot worked with a cinematographer and film editor, as well as a makeup designer, models and production assistants. A writer created the text, which is performed like a spoken-word poem, and her partner, a musician named Joakim Bouaziz, created the score.

Ms. Henrot finds inspiration from disparate sources including eBay, where her purchases range from firemen's boots to nude vintage photographs. Sometimes she buys an item just because she likes the picture of its seller. After moving from Paris to New York in late 2012, she says the cargo container with all her stuff was held up by authorities for months—she suspects because its contents were so weird.

As a child, she wanted one day to have a "real job," eager to distinguish herself from her mother, an artist. Nevertheless, she attended art school in Paris, studying animated film. She took a job in an advertising agency, where she learned tricks like how to shoot a piece of cake to make it look more delicious (blow it with a hair dryer so it seems fluffy). Along the way, she was making films on her own, including an inventive music video for the band Octet in which the musicians were rendered as half-real, half-animated bodies. The film was shown in a 2005 exhibition at the Fondation Cartier, a contemporary art center in Paris, and her career as an artist was launched.

Ms. Henrot didn't grow up traveling—she says her mother was afraid of flying—but now her experiences in foreign cultures feed directly into her work. The videos featured at the New Museum include "Coupé/Décalé," an experimental film illustrating a coming-of-age ritual on Pentecost island in the Vanuatu archipelago where young people jump into a void while being held by liana vines around their ankles.

Sometimes her images can be hard to watch. Those turtles in "Grosse Fatigue" are featured with close-ups of their slick tongues and stony eyes. Ms. Henrot, who as a child had a pet turtle named Zoe that escaped through a window of her Paris home, shot the creatures during a vacation in the Seychelles. She filmed a little girl giving a huge turtle a banana and included the footage in her video. "I was interested in the stupidity of man feeding wild animal," she says.

Ms. Henrot brought home a souvenir from that trip: A scar on her hand from a turtle that bit her when she too tried to feed it.           

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George Lindemann Journa by Goerge Lindemann - "For the Whitney’s Move, Boxes and Burly Men Just Won’t Do" @nytimes by ROBIN POGREBIN

George Lindemann Journa by Goerge Lindemann - "For the Whitney’s Move, Boxes and Burly Men Just Won’t Do" @nytimes by ROBIN POGREBIN

The Whitney Museum's new space is in the final stages of construction. Credit Fred R. Conrad/The New York Times

Anyone who has ever unwrapped a chipped piece of Wedgwood understands the headaches and peril associated with moving.

Now imagine what the Whitney Museum of American Art is going through as it plans to transport more than 14,000 items, including delicate pieces like Alexander Calder’s sculpture “Circus” and landmark paintings like Edward Hopper’s “Early Sunday Morning” — to its new downtown home.

Let’s just say the logistics go well beyond buying some Bubble Wrap.

There are intricate packing and crating concerns, matters of truck scheduling and insurance and, of course, security, as artwork worth hundreds of millions of dollars is transported through Manhattan. When the Barnes Foundation moved its museum to Philadelphia from the suburbs for its 2012 opening, the movers, as a precaution, stripped all the signage from their trucks.

“Everything about it is monumental,” said Ron Simoncini, who was the director of security at the Museum of Modern Art when that institution moved to and from temporary quarters in Queens during its 2004 renovation. (The move from Manhattan took 400 truck trips and involved about 100,000 works of art, MoMA said.)

“It’s not like moving a business or moving a home,” Mr. Simoncini added. “It’s not like you call Staples.”

The Whitney’s transfer from its Upper East Side home at Madison and 75th Street to Gansevoort and Washington Streets in the meatpacking district is still a ways off.

The museum will shut down after its Jeff Koons retrospective closes on Oct. 19, and staff members will start moving into the new building in the fall. The art will be transported after that, so that the museum is ready for its spring opening. (A firm date has not been set.)

“We’re still making plans for the actual moving of art,” Adam D. Weinberg, the Whitney’s director, said in an interview last week.

The new $760 million project, at the base of the High Line, designed by Renzo Piano, is entering the final stages of construction. (Members of the news media are to get a look at its progress on Thursday.)

Mr. Weinberg said it was not yet clear how many trucks will be involved, how many trips they will take and when they will begin pulling up to the new museum; those details will not be released even when they are determined, because of security concerns.

The Whitney, however, is no stranger to moving, Mr. Weinberg said; the downtown location will be its fourth. Founded in 1930, the museum opened on West Eighth Street in 1931, then moved to an expanded site on West 54th Street in 1954 and finally to its current building, which was designed by Marcel Breuer and opened in 1966.

The Metropolitan Museum of Art signed an agreement in 2011 to occupy the Breuer building for at least eight years.

Mr. Weinberg said he is excited at the prospect of being able to put more of the Whitney’s permanent collection on view. In the new building, which includes outdoor areas, the museum will double its total exhibition space to 63,000 square feet.

It will also be able to consolidate its administrative operations; the Whitney’s staff is spread around five different locations. “We have not all been under one roof for eight years,” Mr. Weinberg said.

John S. Stanley, the Whitney’s chief operating officer, is overseeing the move, Mr. Weinberg said.

“It’s one set of details after another,” said Mr. Stanley, who added that he did not yet have a cost estimate.

A major part of the effort will be ensuring adequate security. The Barnes Foundation had a door-to-door private security escort. “They were invisible but they were there,” said Hal Jones, whose Philadelphia-based company, Atelier Art Services and Storage, handled the move.

“It took us a year to prepare for the job,” Mr. Jones said.

The company spent six months creating the packaging for the Barnes move. Crates were packed inside of crates. Art was insulated with specialized foam, which was customized, based on the weight of each object.

The art traveled in Atelier’s climate-controlled trucks, which are equipped with a cushioning suspension system. Not all the art went over at once, to avoid attracting attention and snarling traffic. “You couldn’t just jam up the whole place,” Mr. Jones said. About four or five trucks made several trips.

“We were like an ant trail,” Mr. Jones said. “Going and coming all the time.”

And then there was all that insurance to deal with. “We have to cover everything we do,” Mr. Jones said. “Commercial; auto for vehicles; packing insurance; shipping insurance; you need insurance for your bricks and mortar; health insurance for all your employees; you need workmen’s compensation; and you need to be able to offer insurance to clients who don’t insure their work.”

The Cooper-Hewitt, National Design Museum in New York is preparing to move some of its 200,000 design objects back into the renovated Carnegie Mansion on Fifth Avenue. The security requirements won’t compare to the museum’s 2011 show on Van Cleef & Arpels (armed guards), but the move is nevertheless “a complicated Rubik’s Cube,” said Caroline Baumann, the director.

The bulk of the Whitney’s collection is works on paper, most of which will be moved to the new building’s study center. Of the remainder — paintings and sculptures — it is still unclear which pieces from the permanent collection will be installed when the Whitney reopens.

The rest of the Whitney’s collection will remain in its undisclosed off-site storage center. Because of the cost — and flood considerations — the museum decided against building a storage facility at the new site, Mr. Weinberg said.

After the Madison Avenue building closes to the public, there will be some private events there through the holidays, and then the Whitney plans to upgrade the Breuer building for its new tenant, the Met, officials said. To prepare for the move (and with support from the Henry Luce Foundation), the Whitney is thoroughly documenting its holdings to make sure each piece has been adequately conserved and digitally photographed.

“It’s basically getting your house clean before you move,” Mr. Weinberg said. “We have never gone through our entire collection, object by object.”

The reinstallation of the collection in the new galleries will be overseen by longtime members of the Whitney’s staff. However unnerving the prospect of this undertaking is, Mr. Weinberg said, he’s confident that it is in very good hands.

“They are people who are fully tested,” he said.

“They know this collection, they’ve traveled this collection,” he added. “These are their babies.”

Correction: April 29, 2014

Because of an editing error, an earlier version of this article misstated the cost of the new building. It is $422 million — not $760 million, which is the total cost of the project, including the building, the endowment and other expenses. Also, an earlier version of this correction erroneously stated that the total cost is $720 million.​

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George Lindemann is an American businessman and the Chairman and Chief Executive Officer of the Southern Union, a pipeline company.[2][3][4][5][6] He also owns 19 Spanish-language radio stations.[4][6]

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George Lindemann Journal - "Art work donated to FIU may be forgery" @miamiherald BY ANDRES VIGLUCCI

George Lindemann Journal by George Lindemann

George Lindemann Journal - "Art work donated to FIU may be forgery" @miamiherald BY ANDRES VIGLUCCI

 This is the oil-on-paper artwork credited to late Cuban artist Carlos Alfonzo whose authenticity is in question

This is the oil-on-paper artwork, credited to late Cuban artist Carlos Alfonzo, whose authenticity is in question.

Read more here: http://www.miamiherald.com/2013/12/11/3812796/art-work-donated-to-fiu-may-be.html#storylink=cpy
Last week, Miami developer and art collector Jorge Pérez was basking in the accolades of the international art world as his namesake museum, the Pérez Art Museum Miami, opened in time for the Art Basel Miami Beach fair.

This week, Pérez was the subject of news no collector likes to hear: A work credited to the late Cuban painter Carlos Alfonzo that he and his wife donated to Florida International University may be a forgery.

In a statement issued in response to a query from the Miami Herald, a university spokeswoman said the picture, a small oil on paper that displays Alfonzo’s characteristic abstract figures, was removed from an exhibition at FIU’s Frost Art Museum by director Carol Damian after outside experts challenged its authenticity.

The Frost is now investigating the work’s origins, FIU said.

“This process will involve substantial study and research, and is one that FIU’s Frost Art Museum is well positioned to undertake as part of its mission as a research institution,’’ university spokeswoman Maydel Santana-Bravo said. “I understand this process could ordinarily take many months to complete.’’

In a statement, Pérez expressed “total shock” at the news, saying he purchased the artwork in 1997 from a reputable source, the former Sloan’s Auction House, which operated in Maryland and Miami before being subsequently sold.

“For over 16 years the piece was hung in my house and viewed by hundreds of people, many of which were well acquainted with the artist. Never was the authenticity of the piece, which is neither a very important or expensive piece of the artist, questioned,” Pérez said. “I have assured the University that, should the piece not be authentic, I would replace (it) for a Cuban work of art of similar value or cash.”

Art experts say even sophisticated collectors like Pérez, who typically rely on certificates of authenticity and advisers when buying artwork, can be victimized by skilled forgers. Art forgery, a persistent problem in the art world, is a crime.

Art museums set their own standards for verifying the authenticity of donated works, but smaller institutions often don’t have extensive resources to vet donations, especially those that come from reputable sources with documentations.

In this case, Santana-Bravo said, the Pérez gift was intended as a “study collection’’ to be shared with the university’s Cuban Research Institute and is not yet part of the museum’s permanent collection. The gift was accompanied by a $250,000 donation from the Pérezes to underwrite research into the works, she said.

Terry Riley, former director of the Miami Art Museum and a former curator at the Museum of Modern Art in New York, said the Frost appears to have handled the issue appropriately.

“This is an unfortunate thing,’’ he said. “But sometimes it’s these exhibits that put these pictures that have been in private collections out before the public and start a discussion about it. This might lead to someone getting caught.’’

Alfonzo, who came to Miami during the 1980 Mariel boatlift, earned recognition as a major artist after his death in 1991, at age 40. His work is widely collected and is in the Smithsonian American Art Museum, the Whitney in New York and several Miami institutions, including the newly inaugurated PAMM.
The popularity of Alfonzo’s art in the years after his death, which raised resale prices for the work, also made him a target for lucrative forgeries. However, some experts say most of Alfonzo’s output during his decade-long career in exile is well documented, making it easier to identify possible fakes.

Pérez, who earned naming rights to the new PAMM after making a donation of cash and art valued at $40 million, also gave 24 paintings and works on paper by Cuban artists to the Frost and FIU’s Cuban Research Institute earlier this year. The museum drew on the Pérez gifts, valued at $315,000, for two shows this fall.

The purported Alfonzo work was hanging in a current show at the Frost, From Africa to the Americas, that was curated by Damian. FIU had valued the untitled work at $20,000 for insurance purposes.

While it was up, the work drew some positive critical attention. A Miami Herald reviewer wrote in November: “Carlos Alfonzo's Untitled is of modest scale but delivers an explosive cornucopia of swirling symbols, rendered in a jewel-like palette.” The Herald also included an image of the work in an online gallery drawn from the exhibit and a companion show of other works from the Pérez gift.

But doubts over the artwork’s authenticity came to light in the immediate run-up to Art Basel week.

Several people familiar with the artist’s work questioned the work, including Cesar Trasobares, a well regarded, Miami-based artist who was a close Alfonzo friend and served as art advisor to his estate. Trasobares, a former director of Miami-Dade County’s public-art program, had also authenticated Alfonzo works after the estate was legally dissolved by the artist’s heirs.

The work is dated 1981, a year in which the newly arrived Alfonzo was working odd jobs to survive and “hardly producing any art,’’ Trasobares said. Furthermore, he said, the style of the painting is “incompatible’’ with the few works Alfonzo did produce in those early years. Nor is the work found on lists of the artist’s work, he said.

Trasobares said he brought the questions to Damian’s attention. She had the painting removed from exhibition on Dec. 4, Santana-Bravo said.

“She is a professional and acted appropriately,’’ Trasobares said.

Read more here: http://www.miamiherald.com/2013/12/11/3812796_p2/art-work-donated-to-fiu-may-be.html#storylink=cpy
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George Lindemann Journal - "MOCA mum on move rumors" @miamiherald By Hannah Sampson and Jordan Levin

George Lindemann Journal by George Lindemann

George Lindemann Journal

 The Museum of Contemporary Art North Miami shown in this file photo has been in its home at 770 NE 125th St since 1996

George Lindemann Journal - "MOCA mum on move rumors" @miamiherald By Hannah Sampson and Jordan Levin

Is the Museum of Contemporary Art, North Miami preparing to shed the “North Miami” from its name?

The Art Newspaper reported Thursday that the museum might be moving, and cited unnamed sources who said MOCA could potentially merge with the Bass Museum of Art in Miami Beach.

Thursday afternoon, MOCA interim director Alex Gartenfeld would only say that the board is “thinking very deeply about what the future of MOCA might hold.” But he said such conversations have been going on for years and there was no new urgency to those talks.

“There have been longstanding discussions and rumors about the relationship between our institutional mission and our location,” he said.

Rumors of a potential move, however vague, angered one prominent Miami collector who has donated several works to MOCA.

Rosa de la Cruz said she and husband Carlos were upset because in her mind, moving the museum would be akin to closing it — and merging with another museum would be the same as giving the collection away.

“I gave work to that museum,” de la Cruz said. “I didn’t give works to the Bass Museum.”

Although de la Cruz would not say where she heard the rumor, she said she was disappointed that no one from the board reached out to her directly.

“I think the collectors and the people that gave and the artists that gave work to that museum should have at least been informed and asked for advice,” she said. “It would have been a little more elegant, I think.”

Co-chairs of the museum’s board of trustees, Irma Braman and Ray Ellen Yarkin, declined to comment.

The rumors follow a period of change for the institution, which is partially funded by North Miami. Longtime director and chief curator Bonnie Clearwater announced her departure in July to take the same position at Nova Southeastern University’s Museum of Art in Fort Lauderdale.

A year earlier, the museum suffered a blow to its plans for an expansion that would have tripled its space when voters in North Miami rejected a $15 million city bond issue to fund the project.

When Clearwater announced that she was leaving, she said the city and board were looking at all options and “being very creative.”

“The museum’s reputation is really not tied to the building,” she said at the time. “It’s where we built our reputation.”

Gartenfeld pointed to that comment in an interview Thursday. He said a robust exhibition program has already been announced through early 2015, and daily educational activities and regular public programs are continuing.

“The worry that MOCA will go away, that’s not something that’s going to happen,” he said.

The Art Newspaper’s story took city officials in North Miami by surprise.

“I cannot answer to rumors that they are leaving because I have not been formally informed,” Mayor Lucie Tondreau said Thursday.

Although city manager Stephen Johnson was slated to meet Friday with the museum’s board, that meeting was scheduled several weeks ago to discuss the appointment of a permanent executive director, city spokeswoman Pam Solomon said.

Tucked between city hall and the police department, MOCA is the centerpiece of downtown North Miami and the city’s emphasis on arts and culture; it had been allocated $982,000 in the city’s 2014 preliminary budget.

“Absolutely MOCA is an important part of our arts and culture,” said Solomon.

At the Bass Museum of Art, executive director Silvia Karman Cubiñá was not available to comment.

In an emailed statement, the president of the board of directors, George Lindemann, said in part: “The Bass Museum welcomes collaborations with institutions in Miami and from around the world....We are continually evaluating opportunities for these collaborations so as to strengthen our programming and widen our audiences.”

Reached by phone, he declined to talk about any arrangement with MOCA.

Gartenfeld also avoided specifics, saying: “I can’t comment on probabilities and things like that. It’s too much speculation.”

He said the museum already collaborates with other institutions in South Florida, highlighting the recently formed Miami Art Museums Alliance.

“A museum is an important cultural institution with a mission, and the board of trustees and I are seeking to fulfill the mission in the best way we can with a long view of what MOCA could mean to the community,” Gartenfeld said.
George Lindemann

Read more here: http://www.miamiherald.com/2013/12/05/3800088/moca-mum-on-move-rumors.html#storylink=cpy
 
 
George Lindemann Journal

George Lindemann Journal - "Miami readies its new front porch: the $131 million Pérez Art Museum" @miamiherald by ANDRES VIGLUCCI

Go ahead. Grab a rough-hewn Adirondack chair, settle down on the expansively shaded deck under the pendulous greenery and bask in what may be the best public views — inside and out — anywhere along the water in downtown Miami.

This is, after all, your new museum of art — a $131 million haute-design showcase for modern and contemporary work that also manages to extend an open, dare we say homespun, welcome.

When it opens to the public at the edge of Biscayne Bay on Wednesday, on time and on budget, the strikingly original and meticulously thought-out Perez Art Museum Miami will put art front and center on the city’s landscape for the first time. In doing so, supporters and civic leaders fervently hope it will redefine Miami as a cultural destination.

With wrap-around verandas cooled by lush gardens and a monumental overhanging roof, 360-degree views of bay and city from within and without, and an adjacent new plaza, park and baywalk, the unusually porous museum could also become something else, backers say: a spectacular new front porch for the people of Miami.

“It’s going to be a Miami icon without trying to be anything other than a great museum,’’ said Terry Riley, the architect and former museum director who oversaw the launch of the building effort, in a recent public talk. “I think it’s going to be considered one of the most important contemporary museums anywhere.’’

Bold words, for sure, especially for a young institution that until relatively recently had but a small, uneven collection and a nearly invisible profile, thanks to its location behind fortress-like walls on an elevated plaza on Flagler Street.

During the new museum building’s long gestation, the use of scarce city park land and a public subsidy of $100 million (approved by voters in 2004 as part of a larger, $2.9 billion Miami-Dade County bond package) became a persistent target for critics, including some prominent local art collectors. So did the subsequent renaming of the onetime Miami Art Museum after developer Jorge Perez, whose $40 million gift of art and cash boosted its collection and bottom line but provoked raised eyebrows in the art world and a rift among the institution’s own supporters.

Against this backdrop, museum leaders say they were acutely aware of the need to avoid the cost overruns and construction issues that plagued the nearby Arsht Center even as they built a home and collection defined by high aspirations. PAMM officials say they’ve also nearly met a private fundraising goal of $120 million to supplement the public investment and create an endowment to support the expanded operation.

To design the building, Riley and board leaders picked the powerhouse Swiss firm Herzog & de Meuron, famed for the conversion of a massive London power plant into what is now the world’s most popular museum of contemporary art, the Tate Modern. More recently, the firm designed San Francisco’s de Young Museum, which is covered in punctured, oxidized copper and has a tower shaped like an inverted pyramid rising from Golden Gate Park. The firm, though known for its raw look and rigorous execution, has no signature style, which meant its approach would not be cookie-cutter, Riley said.

Museum leaders asked the architects not to strain for the iconic, but to come up with a cost-efficient building that would reflect Miami and make the most of the site’s waterfront location in a public park. That also meant making the place inviting to a broadly diverse audience, and flexible enough to show off a growing collection that attempts to connect modern Latin American art to its U.S. and European counterparts.

Read more here: http://www.miamiherald.com/2013/11/30/3787124/miami-readies-its-new-front-porch.html#storylink=cpy

George Lindemann Journal - "Talk of the Turner Prize, Where, for One Thing, Talk Is Art" @nytimes - By ROSLYN SULCAS

George Lindemann Journal by George Lindemann

Talk of the Turner Prize, Where, for One Thing, Talk Is Art

Johnny Green

Tino Sehgal, foreground, is one of four nominees for this year’s Turner Prize. His work “This is exchange” involves a simple chat.

By ROSLYN SULCAS

Published: November 29, 2013

LONDONDERRY, Northern Ireland — On a recent morning, a group of teenagers stood in a room, now an art gallery in a former military barracks here, and stared at the bare white walls. They were searching for the work of Tino Sehgal, one of the four nominees for this year’s Turner Prize.

What they didn’t yet know was that they were the work: Mr. Sehgal’s art exists only as personal encounters between members of the public and a guide paid to engage them in conversation. It was a moment worthy of the oft-contentious reputation of the Turner, an annual award of £25,000 (around $41,000) under the aegis of the Tate Museum that is given to a British artist under 50. The winner will be announced on Monday.

Mr. Sehgal’s performance art piece — here in a three-month exhibition, along with works by his fellow nominees, David Shrigley, Laure Prouvost and Lynette Yiadom-Boakye — is one sign that the 29-year-old Turner Prize can still be counted on to provide at least a few challenges to traditional expectations.

The finalists are nominated by a four-person international jury of curators and gallery and museum directors, led by Penelope Curtis, the director of Tate Britain, who plays no part in the final decision. The prize is well known in Britain, and it makes for a moment when people entirely uninterested in contemporary art discuss contemporary art. The award ceremony on Monday will be shown live on national television, as it is each year, and bookmakers are eagerly taking bets on the winner. (A few days before the announcement, Mr. Sehgal was the favorite at Ladbrokes, with 7 to 4 odds.)

But winning isn’t required. Even a nomination for the Turner can be a turning point in an artist’s career, said Chris Hammond, whose gallery, MOT International, represents Ms. Prouvost. “What the Turner Prize does is to instantaneously bring the artist to a new, broad audience,” he said.

Tracey Emin, nominated for the prize in 1999, was blunter. Writing in 2006, she said: “If I were speaking to the artists who are in it this year, I’d say something like: ‘Don’t worry too much. The price of your work is going to double.’ ”

Critics have often been scathing about the quality and shock value of some art that has been nominated for the Turner. The prize “is perhaps most famous for trying — sometimes desperately — to elicit a reaction from its visitors,” Zoe Pilger wrote in The Independent last month.

The prize is also popular partly because of that shock value, much enjoyed by the British tabloids, which have followed some of the exhibits with delirious glee: Damien Hirst’s pickled shark, or Ms. Emin’s unmade bed with detritus from her stay there during a siege of depression, including condoms and cigarettes.

This year, the prize apparatus is also breaking a barrier with its setting: For the first time, the Turner Prize exhibition and award ceremony are being held outside of England, here in Londonderry (called Derry-Londonderry in all Turner publicity), designated as Britain’s first City of Culture.

The city is deeply associated with the Troubles, the violent sectarian conflict that raged on the Irish island for decades. Londonderry bears testament to sensitivities that prevail, despite the 1998 Good Friday agreement. (Some see the London prefix, added to Derry in 1613, as a British imposition, thus the double name that is popular with many.) The placing of the exhibition in the Ebrington Barracks, where the British Army was garrisoned and which remained barred and inaccessible until relatively recently, is meant to symbolize a transformation from devastation to regeneration.

“We recognized there would be challenges, but there was always a desire on our part to make it work,” said Nicholas Serota, the director of Tate Museums, in a telephone interview. “I hope that by putting it in Ebrington, we lay down another layer of history.”

The exhibition is part of the extensive calendar of events planned by Culture City, an organization working in concert with the city’s designation. The art is in building 80/81, transformed by a $3.9 million renovation from dilapidation to a gleaming series of galleries facing the curving Peace Bridge, built in 2011.

What will happen to Ebrington when the Turner exhibition closes is uncertain. “The real value of having the Turner here has been showing the potential of those buildings as a cultural center,” said Willie Doherty, a Londonderry-born photographer who has twice been nominated for the Turner Prize. “I think we will have missed a huge opportunity if we don’t develop and build upon the success of this year.”

The galleries provide an unobtrusive, custom-made space for the artists. Mr. Shrigley’s “Life Model 2012” is an ill-proportioned animatronic naked man, three meters (about 10 feet) tall, surrounded by chairs and, usually, groups of people earnestly drawing it.

Mr. Shrigley, 45, has been producing books of illustrations — and photography, cartoons, sculpture, animation and painting — since the early 1990s, and he has been commercially and artistically successful; last year the Hayward Gallery in London presented a 20-year retrospective of his work, the source of his nomination. His pieces are funny and accessible; therefore, he said cheerfully in a telephone interview, “I don’t have any expectation of winning the prize.” A giant man urinating in a bucket, he said, is not a winner.

A video and sculpture installation from the French-born Ms. Prouvost, 35, who moved to London at 18 to study experimental film and video, is in the next gallery. Her whimsical film installation “Wantee,” for which she was nominated, is animated by her voice telling the story of her (fictional) conceptual artist grandfather, whose creations, displayed around a space resembling a tearoom, are used as domestic objects by her grandmother.

“The idea of a dialogue with the audience is important to me,” Ms. Prouvost said in a Skype interview. “I am coming from the experimental scene and questioning the idea of telling the story and making moving images.”

Ms. Yiadom-Boakye, 36, a Londoner of Ghanaian descent, is perhaps the wild card in the pack because she is a straightforward portrait painter. But her portraits are of imaginary people that she describes as “composites” of memory, images and imagination. At Ebrington, the dark-hued figures emerge from the dark, textured oil-painted canvases and low lighting with almost palpable intensity.

And then there is Mr. Sehgal’s 2003 “This is exchange,” which centers on a discussion of the market economy. (There is an incentive for visitors to participate: a small sum of cash.) Mr. Sehgal, 37, who studied dance and economics before turning to the world of visual art, is enjoying a moment in the sun; he won the Golden Lion at the Venice Biennale this year.

No matter how many bets are taken, the Turner Prize outcome is never predictable. “It’s not a vote but a discussion, which makes it unpredictable because passions come into play,” said Judith Nesbitt, the head of National and International Initiatives at Tate. “It’s opinionated. It’s not objective. It can’t be.”

From a local point of view, said Graeme Farrow, the programming director of Culture City, it hardly matters. “The real winner,” he said, “is Derry.”

George Lindemann

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George Lindemann Journal - "From Behind the Canvas" @nytimes -By GUY TREBAY

George Lindemann Journal By George Lindemann

Danny Ghitis for The New York Times

The art dealer Jeanne Greenberg Rohatyn at her townhouse on the Upper East Side.

By GUY TREBAY

Published: November 29, 2013

As the art mob descends on South Florida this week for the 12th edition of the cross-platform marketing frenzy that is Art Basel Miami Beach — private jets disgorging art sharks and their adviser remoras — one slight and fashionable figure will stand out.

A thin and dark-haired woman with a knife-slash smile, Rooney Mara bangs and a collection of jersey weeds from Saint Laurent and Rick Owens, Jeanne Greenberg Rohatyn is, at 46, no one’s idea of a late bloomer

For well over a decade, Ms. Greenberg Rohatyn has been a stealth force in the art world, the “art brat” daughter of a respected dealer who, after her college studies, went on to become an independent curator; a private dealer and adviser; a judge in the Bravo reality series “Work of Art: The Next Great Artist”; a widely photographed socialite with a prominent banker husband; a prodigious Democratic fund-raiser; and a proprietor of three increasingly influential galleries with clients from both inside the circles of usual art-world suspects as well as powerful and unexpected outliers like the hip-hop mogul Jay Z.

It is at her Salon 94, Salon 94 Freemans and Salon 94 Bowery that Ms. Greenberg Rohatyn came into her own, showcasing a signature knack for discovering young and emerging artists, for kick-starting the reputation of those in midcareer, and for engineering unlikely aesthetic mash-ups combining the disparate worlds of fashion, sports, entertainment and art.

Consider that when, during the 2011 Art Basel Miami Beach, Alex Rodriguez of the Yankees opened his North Bay Road mansion to a select group of Art Basel attendees, the witty batting-cage installation by the New York-based sculptor and painter Nate Lowman was Ms. Greenberg Rohatyn’s inspiration, generated out of a visit the ballplayer made to her gallery.

“I first came to Jeanne’s uptown space to view several monochrome Richard Prince ‘Joke’ paintings,” Mr. Rodriguez wrote in an email. “Our real conversation happened upstairs looking at a Nate Lowman ‘Smile’ painting.”

Having introduced the Yankee to the artist, Ms. Greenberg Rohatyn suggested they collaborate. Thus, Mr. Lowman “tricked out my batting cage” with an array of his obsessive smiley-face paintings, Mr. Rodriguez said.

“The Smiles became a stadium audience around the room,” he added. “We joked about me hitting a baseball through one of his bullet-hole paintings hung high on the net.”

When Jay Z appeared at the Pace Gallery in Chelsea last summer to film a video for the single “Picasso Baby” with a cast of celebrated art-world conscripts, it was Ms. Greenberg Rohatyn who subtly and with little fanfare acted as a guiding force.

There she was, on a muggy July afternoon, discreetly stage-managing as the rapper mesmerized a crowd including the artists Lawrence Weiner, Kehinde Wiley and Mickalene Thomas, and the philanthropist Agnes Gund. Gliding through the white cube gallery in a one-shouldered Lanvin jumpsuit and with her signature cluster of stone talismans strung from her neck, Ms. Greenberg Rohatyn supervised the proceedings, darting from improvised green room to curb, where she greeted the performance artist Marina Abramovic as she descended from a chauffeured S.U.V., a nutty lunar priestess in a self-induced trance.

“The interesting thing about Jeanne is how involved she is in the ‘becoming’ of an artist’s creations,” the artist Terry Adkins recently said.

Recruited by Ms. Greenberg Rohatyn and added to her roster after a 10-year absence from the art scene, Mr. Adkins found himself emerging from semi-obscurity as a newly minted breakaway star. For the October Frieze Art Fair in London, Ms. Greenberg Rohatyn installed a cut-down version of Mr. Adkins’s totemic “Muffled Drums,” a stacked drum sculpture paying symbolic homage to the black writer and intellectual W. E. B. Du Bois.

The piece, quickly snapped up by the Tate Modern, represented an element of political engagement that is Ms. Greenberg Rohatyn’s signature. “I was really attracted to her in the first place because she had black artists and women, and never made a big deal out of it,” said Marilyn Minter, one of the gallery’s marquee names. In fact, her list of artists was never preferential of race or sex, yet the range of her interests and connections goes well beyond the confines of an often insular gallery scene.

“How many dealers,” Mr. Adkins asked, “would even think to collaborate with Jay Z on a video?” How many, for that matter, could hope to elicit his consent?

On a recent chill evening, the crowd for an opening of a jewelry exhibition by the sculptor Alexander Calder at Salon 94 was indicative of the atmosphere Ms. Greenberg Rohatyn specializes in creating, one bearing little resemblance to the typical art-world assembly.

Teetering about the room in the townhouse that serves as both gallery and residence for Ms. Greenberg Rohatyn’s family, Michele Lamy — wife and muse of Mr. Owens, the designer — wore vertiginous heelless platform shoes and a gold grille on her teeth. Gareth Pugh, the British designer, mugged for a camera in a Calder tiara, closely watched by a security guard in white cotton gloves.

Bearded and wearing a thigh-high miniskirt, the gender-torquing party promoter Andre J. took snapshots as Fran Lebowitz, in a studied Robert Benchley pose, held up a wall. Wandering through it all was Ms. Greenberg Rohatyn’s daughter Coco, one of her three children with Nicolas Rohatyn, a financier whose father is the eminent banker Felix Rohatyn, best known perhaps for his brinksman role in staving off New York City’s bankruptcy in the 1970s.

“You go into Jeanne’s house, and you see this phenomenal taste and incredible mix,” said Lisa Perry, the fashion designer and art collector, noting how offhandedly the valuable Calder jewelry was displayed — in a 1952 Lattes bookcase by the Italian architect and designer Carlo Mollino (whose estate Ms. Greenberg Rohatyn represents); atop a Hella Jongerius Frog table; and on a charred-looking bronze sculpture by the artist Huma Bhabha. “It’s all kind of seamless,” she said.

Ms. Greenberg Rohatyn (her first name is pronounced “genie”) moved quietly about the space dressed in black leather trousers and with her hair slicked back. “This is all normal,” she said. Yet normal people seldom inhabit double-wide townhouses chock-full of costly contemporary art, including a Calder stabile and David Hammons’s backboard chandelier Untitled, a version of which sold at the recent auctions for $8 million. “The idea is to elevate the way you live your domestic life,” Ms. Greenberg Rohatyn coolly remarked.

Not all of her projects have been high-minded; a stint on a cable reality show struck some in the industry as a curious career move for a woman who struggled to shake off an early reputation as a Vogue “It” girl, a fashion favorite often spotted in designers’ front rows. “I’m glad I took the risk and did something unknown to me,” she said of “Work of Art,” in which she appeared alongside China Chow, the gallery owner Bill Powers and Jerry Saltz, the art critic of New York magazine. “You can’t be too predictable,” Ms. Greenberg Rohatyn explained in a text message. “It shook up my image.” It also “made me fix my posture,” she said.

“What is fascinating about Jeanne is the sheer force of her personality,” a New York museum official said, speaking on condition of anonymity to avoid the appearance of favoritism. “She loves art, she loves artists and she loves objects. You look across the roster of emerging to midcareer to well-known artists she shows, and you can see there’s something there that requires a passionate, individual approach.”

For Roselee Goldberg, an art historian and the founder of Performa, the performance art foundation whose board Ms. Greenberg Rohatyn leads, Ms. Greenberg Rohatyn “has an ease” in navigating the art world because it is her native terrain. A daughter of a prominent art dealer, Ronald Greenberg, Ms. Greenberg Rohatyn — who studied art history at Vassar and New York University’s Institute of Fine Arts, and was raised in a vast Gothic Revival pile in suburban St. Louis — comes by her easy conversancy with art-world machinations and folkways naturally.

“She is comfortable across the entire spectrum, from established artists to the youngest and most emerging,” Ms. Goldberg added of the dealer’s catholicity of taste. Ms. Goldberg pointed out that at Salon 94, Ms. Greenberg Rohatyn has exhibited artists, sculptors and designers as varied as Wangechi Mutu, Lorna Simpson, Mr. Lowman and also Mr. Owens, whose massive, neo-brutalist furniture she once showed in tandem with sprightly organic vessels by Betty Woodman, a beloved octogenarian ceramist.

“The thing with Jeanne is she’s not coming from a place of cold calculation,” Ms. Goldberg added, and surely few other dealers would be as willing to risk reviving the reputation of an artist like Jimmy DeSana, a gifted and all-but-forgotten photographic explorer of dark sexual impulses and an early AIDS fatality.

It was most likely her passionate and unorthodox approach that made her attractive to an equally passionate group of novice collectors, said Lyor Cohen, a music industry executive who brokered Ms. Greenberg Rohatyn’s introduction to Jay Z.

“Her aesthetic and taste is impeccable,” Mr. Cohen said by telephone. “She is on the front end of a lot of things.”

Unlike many who travel the art fair circuit with billionaire clients and a shopping list of fashionable requisites in hand, he suggested, Ms. Greenberg Rohatyn builds collections with an intuitive eye. “If you wanted that art adviser playbook, she wouldn’t have contorted her body for that playbook,” he said.

Although requests for comment made through representatives for Jay Z went unanswered, those familiar with his collection note that, in a surprisingly short time, he has amassed a grouping notable for breadth and discernment, one that includes works by, among many others, Ms. Minter, Gary Simmons, Mr. Hammons and Jean-Michel Basquiat.

“Jeanne’s as courageous as he is, and that’s what he wants,” Mr. Cohen said, referring to Jay Z. “He wants the best of her.”

Ms. Greenberg Rohatyn, for her part, invokes omertà when discussion turns to her clients. “But, yes,” she said curtly, “art does sometimes need a lot of help.”

For Ms. Minter, Ms. Greenberg Rohatyn’s editorial eye and her ability to reconfigure careers was in some ways life-changing. “I’d been somebody who was always slightly marginalized,” the artist told a recent visitor to her Garment Center studio. “When Jeanne first came to me, after I was in the Whitney Biennial, she said, ‘You’ve had such an out-of-the-box kind of career, I want to represent you.’ ”

Ms. Minter had no gallery at the time and sold few pictures; these days, there is a waiting list for her paintings, whose prices range from $45,000 to $500,000. “Now Jerry Seinfeld owns photos of my mother, if you can believe that,” Ms. Minter said. “That’s Jeanne!”

At Art Basel Miami Beach, 258 galleries from 31 countries will set up shop, and 50,000 visitors are expected to flood the halls of the city’s convention center. For her own white-walled space, Ms. Greenberg Rohatyn is taking a chance by displaying only Ms. Minter’s new paintings and a motorcycle by the designer Sebastian Errazuriz customized and with a topiary bird affixed to the handlebars. “Objects have their own integrity and energy, which is something people who live among objects understand,” Ms. Greenberg Rohatyn said. “They speak to each other, creating a dialogue, which is what personally gets my heart beating.”

One afternoon last week, Ms. Greenberg Rohatyn wandered about Ms. Minter’s studio checking the progress of her Miami pictures, as several of the artist’s nine assistants applied final touches to paintings that were not yet dry.

Musing about whether to bring along examples of the painter’s older work, Ms. Greenberg Rohatyn asked, “Do you have the singer in the studio?”

Ms. Minter, who was wearing motorcycle boots, black tights and a Kelly green T-shirt with the legend “Draw Me,” called out to an assistant, “Do we have that painting here, or is it in storage?”

“The singer,” Ms. Greenberg Rohatyn said.

As Ms. Greenberg Rohatyn and Ms. Minter hunched over a desktop computer, scanning images from an online inventory, a visitor suddenly recalled an observation Ms. Perry, the designer, had made about Ms. Greenberg Rohatyn. “I think her connection to Jay Z and to me and to the people she advises works because she opens our eyes to stuff we would not have even known about before,” Ms. Perry said. “We love Jeanne for that reason: She’s going to open our eyes.”

Just then, a blurred image popped onto the screen depicting a woman whose mouth was widened as if in song. The image, Ms. Minter noted, came from an early series titled “Hard Core Porn.” On close inspection, it became clear the woman was no singer and the object she gripped so tightly in her hand was no microphone.

“Oh,” Ms. Greenberg Rohatyn said, grinning wryly. “Let’s not take that.”

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George Lindemann Journal - "At Art Basel Miami Beach, Squeezing Art Out of the Picture" @nytimes By NATE FREEMAN

George Lindemann Journal by George Lindemann

At Art Basel Miami Beach, Squeezing Art Out of the Picture

Katie Orlinsky for The New York Times

From left, Remo Ruffino, the creative director of Moncler; Uma Thurman; and Jean Pigozzi at the Moncler anniversary party last year during Art Basel Miami Beach. Such stargazing events are overshadowing art-related events.

By NATE FREEMAN

Published: November 29, 2013

Let’s play a game: Are the following parties taking place during New York Fashion Week or Art Basel Miami Beach?

A brunch to toast a T-shirt designed by Visionaire and Gap. A cocktail party to celebrate a new fashion fair. A dinner hosted by Louis Vuitton for a modernist beachfront house. A Dom Pérignon party hosted by the playboys Alex Dellal, Stavros Niarchos and Vito Schnabel?

O.K., O.K., they are all parties from Art Basel, the annual South Florida pilgrimage this week by seemingly every social person in New York. But while fashion parties in the art world are nothing new, the sheer volume of events (dinners, cocktails and blowout parties) not related to art this year is deafening. Sure, the art fairs still display paintings at gobsmacking prices during the day, but the serious art folk are getting sick of the nighttime excess.

“You basically have to treat Art Basel Miami Beach like Vegas,” said Bill Powers, a gallerist and constant fixture at cocktail functions and openings. “You get in, then you get out. Nobody I know is staying the whole weekend.”

Mr. Powers is just dipping his toe in the Miami Beach melee: he’s staying for two days. He forwarded an email with an invitation to a screening of “Her,” the latest film by Spike Jonze. Highly anticipated, sure, but not exactly art-related (even with Jeffrey Deitch moderating a Q-and-A with Mr. Jonze). And it’s slated for Thursday. “I’ll be home already,” Mr. Powers said.

Would he be missing much by skipping out early? Perhaps not.

“So much of the Basel fatigue is that a lot of the events are not that fun,” said Manish Vora, who, along with Kyle DeWoody, is a founder of Grey Area, the art collective and online retailer. “Every conversation is about what parties you’re going to. It’s not about the actual party. No one goes and says, like, ‘Oh, I had the craziest time.’ ”

Granted, last year’s spate of parties had its highlights, and it just so happened that most had little to nothing to do with art. The most-discussed moment wasn’t a bidding war or a Damien Hirst brawl. It was the Chanel dinner where Demi Moore spent the evening petting a stray cat, even during an auction for a Dash Snow charity. Or the Moncler 60th anniversary party, held at the parking lot at 1111 Lincoln Road, which was reimagined as a tropical ski chalet for celebrities like Uma Thurman and Pharrell Williams.

This year’s edition of Art Basel, which officially starts Thursday, is shaping up to be no different. Sure, there are the week’s usual marquee art parties: White Cube’s poolside party at the Soho Beach House, Aby Rosen’s A-list dinner at the Dutch and the opening and V.I.P. dinner for the Museum of Contemporary Art North Miami’s winter exhibition (this time, for Tracy Emin). There are notable newcomers, too. The Pérez Art Museum Miami, a contemporary art museum, is opening this week with a series of private brunches, V.I.P. previews and dinners.

But they pale in comparison this year to the flood of parties not related to art but with tie-ins to luxury brands, alcohol sponsors, fashion labels and boutiques. One public relations firm has compiled a party calendar that runs 14 pages and includes 27 events on Tuesday alone, including a fashion show, a brunch for a pop-up store and a dinner for a new furniture line.

And partygoers are already talking about Wednesday night, with word circulating online that Kanye West is to participate with the artist Vanessa Beecroft in a performance art piece at Mana Wynwood, a sprawling production village in the Miami Art District.

The art fairs themselves are not immune to the hubbub. NADA Miami Beach, a satellite fair that showcases emerging contemporary artists, has partnered this year with American Apparel on a line of artist-designed T-shirts. And SCOPE Miami Beach, another satellite fair, is showcasing an art project curated by Red Bull.

No wonder that with each passing year, more and more attendees don’t even seem to bother with the art. “I don’t have a relationship with the art world in any profound capacity, so for me it’s just a way for me to unwind,” said Leandra Medine, the fashion blogger known as Man Repeller.

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A version of this article appears in print on December 1, 2013, on page ST15 of the New York edition with the headline: Squeezing Art Out of the Picture.
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