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Transform Your Basement Into a Wine Cellar

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Many of us (myself included) keep wine bottles stacked on the counter or a few whites chilling in the fridge. A true wine enthusiast balks at this idea — wine requires proper storage, and an everyday kitchen cabinet doesn’t quite cut it. If you’ve been c


"Ivy Style": FIT Charts the Evolution of Campus Fashion

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"Ivy Style": FIT Charts the Evolution of Campus Fashion
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The Museum at FIT is taking its visitors back to a time before the Ivy League look meant college hoodies and logo-stamped sweats. 

As the space's latest exhibition, “Ivy Style,” shows, collegiate fashion has spread way beyond the courtyards of Harvard, Princeton, and Yale. The exhibit charts the history of campus fashions from the 1920s through today, tracing the evolution of classic menswear items like polo coats and penny loafers from their European beginnings to their American redesign by such pioneering brands as Brooks Brothers and J. Press.

“You can only go so far with innovation and design, and I think that a lot of times – especially in periods of crisis – nostalgia, looking towards a more genteel time period, is what people want,” Patricia Mears, deputy director of the Museum at FIT, told ARTINFO of the look’s recent comeback. While Ivy staples like Glen plaid, madras (above, center), and linen suiting (above, right) are present in the exhibition, Mears also turned up some forgotten campus trends, like the 1920s raccoon coat (above, left) and Princeton’s beer suits. “Princeton University students would wear white coveralls and duck cloth jackets to keep their good clothes from getting beer on them during parties,” Mears said. “There were a lot of trends, but the thing that is important is how many of the trends, such as athletic wear, which transitioned from the playing field into the classroom, were really important.”

Mears began looking at photos of Ivy Leaguers from the 1920s and ’30s as a reaction to what she saw as a “fracturing” in the industry. “There was a downturn in the economy, and a number of people I knew who were wonderful designers were going out of business,” she said. “And the tragic end to the life of Alexander McQueen happened around that time, and John Galliano, whose entire career imploded, and yet people were still wanting more product, cheaper product, less good quality product.” Vintage student snapshots from tony college campuses proved to be the cure for Mears’s fashion malaise. “I began to realize, these are handsome young men wearing beautiful clothes, but there’s also a sense of ease, a freshness to it. I said, ‘This is really style.’”

While the Ivy look is pretty democratic these days, with everyone from H&M to Hermes turning out brass button peacoats and embroidered smoking slippers, this wasn’t always the case. “If you look at pre-World War II images, you’re talking about more of an elitist group of people, people with more money who could send their children to college” Mears said. “After the war, the G.I. bill changed that, so working class men, older men, could suddenly go back to school. They brought with them things they had worn during the war. Things like chinos became part of the college students’ uniform.” The style became so popular in the 1950s, that Mears considers the mid-century years its heydey, before Ivy style evolved into preppy style in the following decades. “I think with the decline of the Ivy style in the 1960s and the resurgence in the ’80s, you started to see the word preppy being used for more fashion-oriented clothing,” she said. “It was brighter, more youthful, and there were a lot of women’s clothes, too. Ivy is really menswear, it really comes out of this university environment.” 

Mears has faithfully recreated that environment in the Museum at FIT, where looks are staged in faux prohibition-era dorm rooms, grassy college quads, and campus classrooms. See the exhibit, which runs through January 5, 2013, at New York City’s Fashion Institute of Technology. 

Click on the slide show to see images from FIT’s “Ivy Style” exhibition.   

At the Paris Auto Show, Porsche Touted the Family-Friendly Sport Turismo Hybrid

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At the Paris Auto Show, Porsche Touted the Family-Friendly Sport Turismo Hybrid
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On the heels of the exclusive and highly anticipated release the 918 Spyder supermobile, German automaker Porsche has shifted gears to focus on designing something that will enhance your everyday drive. At the 2012 Paris Auto Show, Porsche debuted the tasteful plug-in “e-hybrid” Sport Turismo concept for the Porsche Panamera range. It's an elegant merger of sportscar and family wagon.

With four doors and 67 miles on the gallon, the car’s redesign has innovative additions such as slick headlights and a hybrid electric motor combination engine (the so-called “e-hybrid” engine). The prototype eliminates protruding side-view mirrors, bringing the outside world in via a built-in central video cam. Another fancy addition is the TFT color display behind the wheel to monitor gauges and instruments, such as your speed.

The Sport Turismo, closer to earth than the luxury crossover Porsche Cayenne, appears robust, powerful, and spacious. The teardrop contours of the car’s body converge at the rear with an iconic Ferdinand Alexander Porsche-designed 911-style hatch trunk. A lithium-ion battery mounted inside the trunk offers the driver 18-plus miles on electric power alone, albeit at just 98 horsepower.

Eight Panamera models have been put into production since the first model made its debut at the 2009 Shanghai Auto Show. The current “e-hybrid” expects to produce a combined total of 416 horses. Compared with other Panamera models such as the S Hybrid (380HP at 5500rpm) and the Turbo S (550HP at 6000rpm), this is midrange.

Who, finally, is it targeted at? This model appears to be a convenient upgrade for golfers, skiers, young families, and drivers on the lookout for excitement, first-class seating in the front and back, and cargo volume — all from a brand with a proven legacy for performance.

The Panamera Sport Turismo targets a niche market for those interested in both luxury and practicality. If this concept car follows the fate of Panamera predecessors, it’s likely that it will actually find its way into reality, cruising out of Porsche’s Leipzig factory and onto the roads of Munich, Los Angeles, Dubai, Hong Kong, Moscow, New York, and Tokyo.

 

 

Cadillac May Add Small Sports Car, Give Next-Gen Escalade Unique Interior, New Exec Says

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Ferguson’s statements are in line with earlier reports that GM is working on a flagship sedan for Cadillac that will not only define the brand, but be competitive against cars like the BMW 7 Series and Lexus LS. The 2013 Cadillac XTS full-size sedan may...

Slideshow: Highlights from Spring/Summer 2013

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Slideshow: Images from Frieze London 2012

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Will the Rebirth of "América Tropical" Inspire a Mural Renaissance in L.A.?

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Will the Rebirth of "América Tropical" Inspire a Mural Renaissance in L.A.?
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“The mural gods are aligned with us,” conservationist Isabel Rojas-Williams said over the phone, somehow audibly smiling as she talked about the unveiling of David Alfaro Siqueiros’s painting “América Tropical” (1932) which took place yesterday in downtown Los Angeles.

Coinciding with the 80th anniversary of the mural, whose brash and overtly political message was literally whitewashed in the 1930s, the ceremony signals a reevaluation of mural making as the primary art form of California’s Latino heritage. Leslie Rainer, a senior specialist for the Getty Conservation Institute, connects the success of the initiative to preserve the mural to the office of Antonio Villaraigosa — Los Angeles’s first Mexican American mayor in over 130 years. At the L.A. Times, critic Christopher Knight notes the two streets that now “frame” the mural with Spanish language names (Alameda and Cesar E. Chavez), writing that “better captions to civic history are hard to imagine.”

The conservation project, which involved a $6-million commitment from the City and a $3.95-million grant from the Getty Foundation, is 24 years in the making, and involved a litany of mechanical, environmental, and procedural hurdles. Its history, of course, goes back much further, to the years in which the young Siqueiros, exiled from Mexico for his involvement in labor activities while working for the Department of Education (and for his outspoken support of Joseph Stalin), landed in Los Angeles as a working painter and art teacher.

Siqueiros was in his early 30s when he was recruited for a neighborhood rehabilitation project led by an influential civic booster named Christine Sterling. Sterling had been working for years on a project to bring the Olvera Street district in line with its historical precedents (it has been the site of a small Spanish settlement in the early 18th century), and was hoping that someone like Siqueiros could create a mural that would convey the atmosphere of a quaint Mexican village for passing tourists.

A Disneyland rendition of a Oaxaqueño market would probably have done just fine. At the time, “Plaza-Olivera” was furnished with market stalls selling tacos and leather sandals. Guitar players could be seen dressed up in Mexican costume, and in Siquieros’s mural, his patrons were most likely expecting a simple landscape with tropical birds and flowers.

The painting didn’t immediately stray from this bucolic aesthetic when he began working, but the night before the opening, Siquieros told his assistants to leave so that he could finish the central, most visible tableau. There, he placed an Indian peasant on a double cross under a brooding eagle. On the wings, two revolutionaries aimed their rifles at the American national bird — an overt comment on Western imperialism and spirited Latin resistance. In the background, viewers could see a pre-Columbian Mayan pyramid set in an overgrown jungle.

City authorities close to Sterling quickly covered the center of the mural, which could be seen — not by accident — from the recently constructed City Hall. The subsequent chain of events echoed another infamous act of vandalism, the defacement of Diego Rivera's mural  “Man at the Crossroads” (1934), which followed the revelation that the artist had reverently depicted Vladimir Lenin in one corner, holding hands with a huddle of workmen.

Within a year, “América Tropical” was whitewashed entirely, and remained so for decades. Yet in its way, this may have proved a blessing in disguise: Some conservationists have speculated that the whitewash may have served as a protective film until the 1970s, when it began to reemerge (rather mystically) to the visible surface.

Inspired by the work of art historian Shifra Goldman and the 1971 documentary film by Jesus Treviño, titled “América Tropical,” the mural became a focal point of arts and culture wing of the Chicano civil rights movement. Chon Noriega, a curator and professor of Cinema and Media Studies at UCLA, says that he first heard of the mural through Treviño’s film.

“The resurfacing of [the mural] from the whitewashing was really taken as an allegory of the emerging Chicano movement itself,” he says, “as a social and political movement, and one that’s deeply tied to cultural expression.” Waves of mural-making styles have since emerged around Los Angeles on highway medians, storefronts, and warehouse walls, leading many Angelinos to proclaim their home city the “mural capital of the world.”

It’s hard to miss the poetic reversal of the city’s authorities having gone from suppressing a work like “América Tropical” to committing millions of dollars to its rehabilitation. And yet the final status of mural-making in L.A. remains undecided. A moratorium on murals in public view has been in place for nearly a decade. In July, when a committee tried to pass an ordinance with the Department of City Planning to have the ban lifted, the project was mired in a web of arbitrary rules and regulations.

Rojas-Williams will have her fingers crossed as another hearing on the ordinance takes place this Thursday. If it goes well, she envisions a kind of Golden Age for the art form in her hometown, buttressed by a concurrent project to rehabilitate the murals on Highway 101 that were painted for the 1984 Olympic Games. “Murals were a way for the people who came here and the people who were born here to reflect their ideals, like open air books,” she says. “Los Angeles is like an open air gallery.”

To see a clip about the history of “América Tropical,” (and to get a glimpse of the mural), click on the video below:

 

Beauty Trend Alert: Styling Tips to Recreate Spring’s Undone Hair Trend

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During the last five weeks, we sat back and took note of the hundreds of new beauty looks that premiered on the Spring 2013 runways. There were bright saturated lips, bleached brows and plenty of interesting nail art, but nothing had our editors talking...


Slideshow: Phillips de Pury's Contemporary Art Evening Sale Results

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Frieze London Report: The Fair Shines in Tough Times as Dealers Up Their Game

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Frieze London Report: The Fair Shines in Tough Times as Dealers Up Their Game
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LONDON—Frieze Masters made a promising debut yesterday, but contemporary art is still where the excitement is. VVIPs rushed through the doors of the Carmody Groarke-designed Frieze tent at 11 am this morning — and strong sales were reported almost immediately. But there was no pre-crash hysteria on the floor: Times are tough, and competition is fierce. Perhaps as a result, most dealers made a particular effort, presenting booths of a remarkable quality. With its 10th anniversary, Frieze is reaching full maturity.

Ten minutes in, Hauser & Wirth sold Paul McCarthy's 2012 "White Snow Head" (2012) for $1.3 million. The monumental, toilet paper-pink sculpture is a popular favourite. It is part of a three-artist display conceived as a tribute to the late Swiss sculptor Hans Josephsohn, and features some of his brass wall-mounted pieces (20 of which sold for £10,000 apiece) alongside works by McCarthy and Jason Rhoades.

The gallery is present both at Frieze London and at Frieze Masters (where they are showing, among others things, works by the legendary feminist artist Eva Hesse and a stunning blue nude by Yves Klein). ARTINFO UK asked Hauser & Wirth Picadilly director Neil Wenman how the two fairs compared. “It's quicker here, but then the value is much higher at Frieze Masters,” he answered. “Traditionally, the masters market operates at a slower pace.”

Sprüth Magers also boasted a promising start, having sold a George Condo oil on linen (“Red Profile,” 2012) for $325,000, a Sterling Ruby collage for $155,000, and Jean-Luc Mylayne photograph (“No 500 (2/2), Mars 2006-Mai 2007”) for €60,000 — all to European collectors (who seemed to form the bulk of the buyers today).

The fair's saturation of images is aptly echoed by Thomas Bayrle's Frieze Project (“Sloping Loafers/Smooth”). Shoe motifs and the famous laughing cow are repeated ad nauseum in the fair's entrance corridor and a sitting area, lending it an occasionally dizzying psychedelic feel.

“It's been very lively,” said Victoria Miro co-director Glenn Scott-Wright. The gallery sold Yayoi Kusama's pink and gold canvas “Universe RYPK” (2010) for “a price in the mid-six figures in U.S. dollars,” he confided. Victoria Miro is also presenting a booth of William Eggleston photographs at Frieze Masters (together with Cheim & Read), and has shows by Chris Ofili and Elmgreen & Dragset on at the gallery, as well as a Kusama sculpture in the Frieze Sculpture Park. “We are not just doing business here,” added Scott-Wright, stressing the extra challenge of a second London fair. “We have five different venues we try to promote.”

Over at New York's Andrew Kreps Gallery, a multi-panel installation of paintings by Ricci Albenda was sold for $200,000. Their Marc Camille Chaimowicz carpet (£18,000) was still waiting to find a home at time of writing.

Vitamin Creative Space, from Guangzhou, was awarded the Frieze Stand Prize (sponsored by Pommery champagne), but many could have laid rightful claim to it. Casey Kaplan is showcasing a fetching solo presentation by Canadian Geoffrey Farmer, which involves cutout figures glued inside ceramic jars. Also noteworthy was Gavin Brown's pairing of small Alex Katz still-life paintings with a table by Uri Aran crowded with everyday miscellanea.

Newly introduced in London, the Focus section, for galleries under 10 years old, lacks the pizzazz of its younger counterpart, Frame (for galleries under six years old). And it is mainly the solo presentations that shine through. A highlight is MOT International's display of Elizabeth Price's video piece “West Hinder” (2012) — a good example of the elegant splicing of sound and images to which Price owes her recent Turner Prize nomination.

“Collectors are interested in the young but also in works that could be at Frieze Masters,” said Pace Gallery's Sarah Goulet, summing up the overall cheerful mood. The super-dealer’s sales include a large bronze (£35,000) by the British artist Keith Coventry, who recently joined the gallery's roster, a piece by rising star Adam Pendleton (£45,000), and five small works on paper by Yoshitomo Nara (priced between $35,000 and $50,000).

David Zwirner, the other American giant to have recently opened a London outpost, sported five new works by Carol Bove made specifically for the fair (priced at between $80,000 and $250,000). At time of writing, the gallery had sold a photograph by Christopher Williams for $40,000, a new piece by Michael Riedel for $75,000 — also produced for the fair — and a Francis Alÿs gun sculpture for $30,000 (not displayed at the booth).

Jean-Luc Moulène was a great success at Thomas Dane Gallery. Three of his “Bic” monochromes, made with biro ink, sold for €40,000 each to different European collectors, and so did his glass sculpture “Blown knot 6 3 2 (borronean) baria 5” (2012), which went for the same price. The gallery also reported sales of sculptures by Walead Beshty and Alexandre da Cunha, both for £25,000.

As often, the younger Frame section provides a welcome sense of irreverence in this smoothly run operation. Sometimes, it does good business too. By midday, L.A.'s François Ghebaly had sold over half of his sultry gay erotic drawings ($6,000 each) by maverick filmmaker Mike Kuchar. Carlos/Ishikawa are celebrating their entry to the big fair with an “on- and offline dating agency,” courtesy of the artist Ed Fornieles. In case you are wondering what this means, visitors are offered the chance to “adopt” a fictional persona and meet a matching stranger.

For all the dazzling sales figures, museum-quality works, and international blue-chip galleries, Frieze's openness to the cutting-edge is what has come to define it. In 10 years, the fair has grown, matured, known the boom, known the crash — but it has lost nothing of its signature, open-minded style. 

To see highlights from Frieze London 2012, click on the slideshow.

To see all ARTINFO's Frieze Week coverage, click here.

 

"The Audience Seemed a Bit Quiet": A Tepid Auction for Phillips de Pury London

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"The Audience Seemed a Bit Quiet": A Tepid Auction for Phillips de Pury London
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LONDON—With the attention-grabbing backdrop of three art fairs and more evening auctions to come, Phillips de Pury’s lead-off evening sale delivered a tepid £12,223,600 ($19,435,524). The tally fell shy of the £14,960,000-22,080,000 ($23,786,400-35,107,200) pre-sale expectations.

All of the final prices include the buyer’s premium calculated at 25 percent of the hammer price up to £25,000, then 20 percent up to and including £500,000, and 12 percent thereafter. Twenty-four of the 36 lots offered sold for a sluggish buy-in rate of 33 percent by lot and 23 percent by value.

Three lots made over a million pounds (four by dollars), and two young artist records were set, including one for Dan Colen’s rather abstract chewing gum on canvas composition, “Happy Accidents, Happy Endings” (2010), which sold to a telephone bidder for £121,250 ($192,788) (est. £80-120,000).

Most of the action took place anonymously over telephones, though Christopher Wool’s luminous enamel-on-metal abstraction, “Untitled” (1985) sold for £361,250 ($574,880) (est. £200-300,000) to a young Asian buyer seated in the back of the sales room, outgunning New York collector/dealer Jose Mugrabi.

Mugrabi also underbid Andy Warhol’s pre-silkscreen black-and-white “Watches” (1961), which sold to a telephone manned by Michael McGinnis, Phillips’s newly appointed CEO and longtime head of contemporary art. The final bid was £1,004,450 ($1,597,076) (est. £1-2 million).

The Warhol had last sold at auction at Sotheby’s New York in May 2005 for $1,136,000. This sale, therefore, represented a surprisingly skimpy return for the seller.

After consecutive buy-ins of lots by John Baldessari and Robert Longo, the salesroom came alive again as London dealer Timothy Taylor snagged Sean Scully’s jumbo-sized oil-on-linen checkerboard-pattern abstraction, “Homo Duplex” (1993) for £601,250 ($955,988) (est. £500-700,000).

The identical price against the identical estimate greeted Damien Hirst’s butterflies and household gloss paint “Sad Steps-Life Fulfilled” (2006), which strongly resembles a stained glass cathedral window. That work went to a telephone bidder. Both of those lots were backed by financial guarantees.

The security of financial guarantees on pricier lots also helped Louise Bourgeois’s crouching, phallus-equipped and big breasted male/female creature, “Nature Study” in biscuit porcelain from 1996 (cast in 2004), sell to the telephone for £713,250 ($1,134,068) (est. £600-800,000). 

The two top lots went to the market’s current superheroes, as Gerhard Richter’s large-scaled “Abstraktes Bild” (1977) sold to yet another telephone bidder for £2,449,450 ($3,894,308) (est. £2.5-3.5 million) and Jean-Michel Basquiat’s fierce cover lot, the surly “Big Joy” (1984), in acrylic, oilstick and Xerox collage, sold to a private European collector for £2.617,250 ($4,161,428) (est. £2.5-3.5 million).

Buttonholed moments after his purchase, the collector declined to give his name, though he thoughtfully noted, “It’s a good picture and Basquiats are getting very expensive at the 1981-82 levels, and these later ones are beginning to appreciate.”

After the sale, Phillips struck an upbeat note despite the shallow bidding. “There were quite a few more unsold lots than we expected,” said Michael McGinnis, “and the audience seemed a bit quiet. But overall, we’re happy with the results.”

McGinnis said it was still too early in the week to make predictions about the health of the contemporary market and added, “The amount of fairs (Frieze Art Fair, Frieze Masters and PAD) and the amount of auctions may have had some impact. Perhaps people aren’t quite settled yet.”

That perception will be further tested tomorrow evening (Thursday) at the significantly larger and higher-valued Christie’s postwar and contemporary art auction.

To see lots from the Phillips de Pury & Co. sale in London, click on the slideshow.

Trends from China’s Fall Season So Far

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Gagosian Offers Greek Crisis Discount, Met Uploads Old Catalogues, and More

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Gagosian Offers Greek Crisis Discount, Met Uploads Old Catalogues, and More
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Larry Talks ShopKelly Crow snags a surprisingly substantive Q&A with Larry Gagosian as he prepares to open his latest gallery in northern Paris. Asked about the euro crisis, the megadealer replied, "It's almost become a badge of honor that we have a gallery in Greece," adding that the gallery keeps "the price points in Athens lower — under $1 million." Gogo also discusses his attitudes toward various emerging markets, noting that he's scouting a big industrial space in Hong Kong and perhaps a gallery in Brazil, but sees little promise in India. Oh, and he'd really love the chance to sell that Pablo Picasso painting "with all the women in it" — also known as "Les Demoiselles d'Avingon." [WSJ]

– Met Uploads Catalogue Cache: The Metropolitan Museum has launched MetPublications, an impressive online database where it will make available digital copies of hundreds of its catalogues, beginning with an initial selection of 643 publications — including 368 that are now out of print, 140 of which are available as print-on-demand copies — spanning the last 38 years. "MetPublications presents a rich and fascinating record of the last five decades of Met scholarship," Met director Thomas Campbell said. "It will extend the reach of our past, current, and future publications, and give new life to out-of-print volumes.” [Press Release]

– France Frets Over Art Tax: The French art world — as well as the country's president, Francois Hollande — is up in arms over a proposal to extend the country's wealth tax to works of art. If the measure passes in parliament, artworks worth more than 50,000 would be included in assets used to calculate a person's fortune and determine their tax rate. (In an effort to support collecting, France has spared artwork from the wealth tax since 1982.) The measure "would cause a haemorrhage of art, and collectors' exile to more welcoming countries," said Socialist party veteran Jack Lang. [Reuters]

– Ai Weiwei Blasts Nobel's Literature Pick: The outspoken artist and activist — who has been prevented from visiting his new Hirshhorn Museum and Sculpture Garden survey due to a travel ban imposed by the Chinese authorities — savaged the Nobel Prize committee for giving this year's Literature prize to China's Mo Yan. "Giving the award to a writer like this is an insult to humanity and to literature," Ai said. "It’s shameful for the committee to have made this selection which does not live up to the previous quality of literature in the award." [Independent]

– LOLCats Photo Show Opens in London: As if the Walker Art Center's festival of cat videos hadn't done enough to legitimize the Internet's cat obsession as some kind of pan-cultural collaborative art project, London's Photographers' Gallery is about to open an exhibition of photos of and by cats titled "LOL of Cats: Felines, Photography and the Web." The exhibition offers a survey of feline new media art, from early ASCII art portraits to recent images of celebrity cat Maru and images shot by Cooper the Photographer Cat. [Independent]

– Tate Sends New Acquisitions Committees East: The Tate is establishing two new acquisitions committees, one that will focus on sourcing contemporary from India and other South Asian countries, while the other will be devoted to art from Russia and Eastern Europe. The former committee will be an offshoot of the Tate's Asia Pacific acquisitions group, which in 2010-11 acquired 26 works, while the new Russian committee will be guided by Florida-based curator Kira Flanzraich. [TAN]

– Hockney to Show His Multimedia Art in California: On the heels of his wildly popular landscape exhibition at the Royal Academy in London, David Hockney is heading stateside. The 75-year-old artist will exhibit some of his newest films, paintings, and drawings next year at the de Young Museum in San Francisco. The show, which kicks off October 26, 2013, is the artist's first outing in the United States for six years. It will feature, among other works, previously unseen movies filmed simultaneously on 18 digital cameras. [NYT]

– Rough Going for Islamic Art Sales in London: Last week, Sotheby's and Christie's held their biannual auctions of "Islamic Art" in London, a category that encompasses "half a dozen art market categories" into "a single meaningless denomination," notes Souren Melikian. At Sotheby's, 56 percent of the lots that came on the block on October 3 remained unwanted. "Such a miserable showing had not been witnessed in a long time," Melikian quipped. [NYT

– Gates Buys the Bank: The day before Chicago artist Theaster Gates rocked the house at London's Ronnie Scott's jazz club after the opening of his White Cube solo show, he learned that his hometown's Community Development Commission had approved the transfer of an abandoned bank owned by the city to his company, helping to pave the way for its eventual renovation into a multi-use center. "This is a really important building, this bank project," Gates said. [Gallerist]

– Illuminated Manuscripts Get the Scientific Treatment: The Fitzwilliam Museum is teaming up with scientists from Cambridge University to analyze the composition of illuminated manuscripts. Until now, art historians speculated about how these manuscripts were created, "but much of the analysis was circumstantial," according to specialist Dr. Sella Panayotova. Now, the team will use non-invasive analysis to unpack the precise art of manuscript illumination. [BBC]

VIDEO OF THE DAY

Dr. Sella Panayotova talks about illuminated manuscripts at Cambridge's Fitzwilliam Museum 

 

ALSO ON ARTINFO:

Design Sage Murray Moss on the Unconventional Wisdom Fueling His Phillips Auction

SUNDAY Report: The Scrappy Satellite Matures, Proving a Beacon for Tastemakers

Big Names Bomb at Christie's Slack $36.8-Million Postwar and Contemporary Sale

VIDEO: A Trip Through Frieze London With ARTINFO Reporter Judd Tully

Frieze Style: 10 Classy or Outrageous Outfits Glimpsed at the London Fair

Ordinance to Lift L.A.’s Mural Ban Passes

For more breaking art news throughout the day,
check ARTINFO's In the Air blog.

 

ARTINFO's Top 10 Booths from PAD London

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ARTINFO's Top 10 Booths from PAD London
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LONDON—From magnetic levitation sculptures to a faux Swedish living room, the PAD London fair had its share of impressive booths and works — which helped it stand out in the frenzy of Frieze week. After several tours of the fairARTINFO has picked its Top 10 favorite displays — which, since they play to different aesthetic and artistic strengths, appear in no particular order.

To see our picks for Top 10 Booths of PAD London, click on the slideshow.

 

Slideshow: Dinner to Celebrate the Artists of Frieze Projects and the Emdash Awards 2012

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Simon de Pury and Michael Stipe Toasted Cecile B. Evans at Frieze's Emdash Party

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Simon de Pury and Michael Stipe Toasted Cecile B. Evans at Frieze's Emdash Party
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LONDON — Last night Frieze Week revelers celebrated 2012 Emdash Award winner Cecile B. Evans at a dinner party hosted by Matthew Slotover and Amanda Sharp at the Central Saint Martins College of Art and Design. The recipient of the seventh Emdash prize — given to an artist living outside the U.K. during Frieze London every year since 2006, when Mika Rottenberg won it — was joined by art world heavyweights including former R.E.M. frontman Michael Stipe, filmmaker John Waters, auctioneer Simon de Pury, Ingar Dragset of the artist-duo Elmgreen & Dragset, and High Line Art curator Cecilia Alemani. For her winning project, Evans proposed a holographic walking audio tour of Frieze London.

To see images from the Frieze-Emdash dinner party, click the slide show.

 

Slideshow: Camp des Milles

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Are Old-Fashioned Sail Boats the Future of Trade?

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The 19th century "Golden Age of Sail" could be experiencing a revival. Modern-day cargo ship, Tres Hombres (pictured), is relying solely on wind power for its eight-month voyage to the Caribbean. The carbon-neutral vessel is named in honor of the three...

Interview with Karim Habib, BMW Head of Design

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At the 2012 Paris Motor Show, BMWBLOG had the exclusive opportunity to chat with Karim Habib, the recently appointed Head of Design at BMW. The 42-year-old Lebanon-born Canadian has been in charge of Exterior Design BMW Automobiles since March 2011...

Anthony Bourdain, Roasted

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The New York City Wine & Food Festival kicked off Thursday with a roast of everyone's favorite agitator-chef, Anthony Bourdain. The roast proves, well, what you already suspected: Some people think Bourdain is pretentious, and everyone still hates Guy Fieri...

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