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Robert Scull (1917–1985) was an American art collector, best known for his “world-famous collection of Pop and Minimal art”. Born in New York to Russian immigrant parents, Scull dropped out of high school and had various jobs until he and his wife inherited a share of a taxi business. When this thrived, the couple started buying abstract art and later pop art.
Mr. Scull rose quickly to art-world prominence in the 60’s by virtue of the well-publicized zeal with which he and his first wife, the former Ethel Redner, bought works by such upcoming artists as Jasper Johns, Robert Rauschenberg, Andy Warhol and James Rosenquist. They were encouraged by the dealer Leo Castelli and by Richard Bellamy, whose innovative Green Gallery Mr. Scull backed for the five years of its existence.
In 1973, the couple was castigated by some artists and critics for the sale -in an auction that drew $2.2 million -of 50 of those works, which had been acquired at comparatively little cost. The auction broke records for contemporary American art in several categories. At a news conference afterward, the artist Robert Rauschenberg accused Mr. Scull of ”infidelity” and the auction house of encouraging ”profiteering.”
The Sculls’ collecting activities began in the field of Abstract Expressionism, and by 1965 they had acquired some 30 works by Willem de Kooning, Barnett Newman, Mark Rothko, Franz Kline and others. Their first auction sale, of a dozen works, was held in 1965. Its purpose was to raise money to encourage unknown artists, and the proceeds went to establish the Robert and Ethel Scull Foundation.
Hear from Marietta Cambareri, Senior Curator of Decorative Arts and Sculpture and Jetskalina H. Phillips Curator of Judaica, Art of Europe, and curator of “Della Robbia: Sculpting with Color in Renaissance Florence,” how important innovations in the work of sculptors like Donatello and Luca della Robbia inspired painters and others working in a variety of materials, contributed to the flowering of Renaissance art and creative ingenuity.
Marietta Cambareri, Senior Curator of European Sculpture and Jetskalina H. Phillips Curator of Judaica, Art of Europe
Marisol, in full Marisol Escobar, (born May 22, 1930, Paris, France—died April 30, 2016, New York, New York, U.S.), American sculptor of boxlike figurative works combining wood and other materials and often grouped as tableaux. She rose to fame during the 1960s and all but disappeared from art history until the 21st century.
Marisol was born in Paris of Venezuelan parents and spent her youth in Los Angeles and Paris, studying briefly at the École des Beaux-Arts (1949). In 1950 she moved to New York City, where she studied at the Art Students League and the Hans Hofmann School of Fine Arts. From her earliest, roughly carved figures, she worked mainly in wood.
In New York she made ties with the Abstract Expressionists—Willem de Kooning, Franz Kline, and Jackson Pollock, among them. Though she is often associated with Pop art, she incorporated many influences into her work (folk art, pre-Columbian art, Cubism, Dadaism, collage) and thus defies classification. She gained wide recognition in the 1960s for her mixed-media figure groups; the juxtaposition of blockish inert forms and their painted, cast-plaster, or found-object features and accoutrements lend the works a deadpan irony. Many of her works depict variations of the family unit. Her portrait groups of public figures such as Charles de Gaulle and Lyndon B. Johnson (both 1967) are particularly satirical. In 1961 she was included in the Museum of Modern Art exhibition “The Art of Assemblage.” The next year and then again in 1964 she had wildly successful solo exhibitions at the Stable Gallery in New York City. During the 1960s and ’70s, Marisol was firmly situated within Andy Warhol’s social and artistic orbit; she became a close friend of his and earned roles in his films Kiss (1963) and 13 Most Beautiful Women (1964).
In the 1970s, ’80s, and ’90s she continued to make portrait sculptures of artists (Georgia O’Keeffe with Dogs, 1977, and Portrait of Marcel Duchamp, 1981) and political figures (Bishop Desmond Tutu, 1988). She also began to address historical events, as in Blackfoot Delegation to Washington 1916 (1993), which makes reference to the Native American Blackfoot tribe’s attempt to negotiate with the United States government for land rights.
In 2014–15 a retrospective and scholarly catalog of Marisol’s sculptures and works on paper (organized by the Memphis Brooks Museum of Art, Memphis, Tennessee; traveled to the El Museo del Barrio in New York City) helped to reintroduce her and reestablish her name in the history of art.
在紐約，她與抽象表現主義者Willem de Kooning，Franz Kline和Jackson Pollock建立了聯繫。雖然她經常與波普藝術聯繫在一起，但她在工作中融入了許多影響（民間藝術，前哥倫比亞藝術，立體主義，達達主義，拼貼畫），從而無視分類。她在20世紀60年代因其混合媒體人物群體獲得了廣泛的認可;塊狀惰性形式和它們的塗漆，鑄造石膏或發現物體特徵和裝備的並置使得這些作品具有無懈可擊的諷刺意味。她的許多作品都描繪了家庭單元的變化。她的肖像小組，如戴高樂（Charles de Gaulle）和林登·約翰遜（Lyndon B. Johnson）（均為1967年）都是特別諷刺的。 1961年，她被納入現代藝術博物館展覽“The Art of Assemblage。”第二年，然後在1964年，她在紐約市的Stable畫廊舉辦了一場非常成功的個展。在20世紀60年代和70年代，Marisol牢牢地位於Andy Warhol的社會和藝術軌道中;她成為了他的好朋友，並在他的電影“親吻”（Kiss）（1963年）和“13位最美女性”（1964年）中獲得了角色。
在20世紀70年代，80年代和90年代，她繼續製作藝術家的肖像雕塑（Georgia O’Keeffe with Dogs，1977，Portrait of Marcel Duchamp，1981）和政治人物（主教Desmond Tutu，1988）。她也開始處理歷史事件，例如1916年（1993年）的黑腳代表團訪問華盛頓，該代表團提到美洲原住民黑腳部落試圖與美國政府就土地權進行談判。
在2014-15期間，馬里索爾的雕塑和紙上作品的回顧性和學術目錄（由田納西州孟菲斯的孟菲斯布魯克斯藝術博物館組織;前往紐約市的El Museo del Barrio）幫助重新引入她並重新建立她的名字在藝術史上。
Have you heard of Italian Baroque artist Artemisia Gentilschi? Find out why her popularity, and that of other artists, has risen dramatically since the 1970s. And vote for America’s favorite novel here!: https://to.pbs.org/2Jes2X5.
Chart the frequency of mention of any artist, maker, genius, et al, through the Google Books Ngram Viewer: https://books.google.com/ngrams
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Art critic and film-maker Ben Lewis spent two years following the contemporary art market, from its heady peak in May 2008 until the crash and burn in October. Now, in a new and updated version of the film first broadcast in May 2009, he returns one year later, in October 2009, to discover a very different market.
The last five years had witnessed an unprecedented craze for contemporary art, in which works of art by Andy Warhol, Francis Bacon, and Mark Rothko sold for record-breaking prices of 30 million pounds upwards. It all climaxed in September 2008, when Damien Hirst sold 111 million pounds’ worth of his art at an unprecedented auction at Sotheby’s – the very day Lehman Brothers collapsed bringing down the financial markets of the western world. The bubble did not burst the night of the Hirst sale – but it proved to be a last hurrah.
The auctions in October and November 2008 were a disaster, and Ben was there too, filming the art world in shock. By early 2009, the contemporary art auction market was down 75 per cent, auction houses had recorded record losses and were rapidly downsizing.
In October 2009, Ben returns to find out what has been happening.
In this inside eye-witness journey into the art world, Ben visits auction houses, art fairs, galleries and the homes of billionaires across the world, searching for the reasons behind the greatest rise in financial value of art in history. He interviews leading dealers, art collectors and art market analysts and discovers an extraordinary world of unusual market practices, speculation, secrecy and a passionate enthusiasm for art.
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Andy Warhol: Businessman, con artist, hypochondriac, shooting victim, awesome.
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No hay que tener miedo al Arte contemporáneo.
La mujer que disparó a Andy Warhol se llamaba Valerie Solanas.
El que dijo esa barbaridad sobre el atentado a las torres gemelas de Nueva York fue Karlheinz Stockhausen.
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