Art
E.L. Crossley students bring thoughtful art to Pelham community centre – Niagarathisweek.com
Art that decorates the walls of the Meridian Community Centre will cause people to stop and think.
About 15 three dimensional pieces created by E.L. Crossley art students in Grades 9 through 12 were hung inside the community centre Monday (Jan. 13) afternoon, where they will be on display until February.
“We were talking about ‘Collective Consciousness’ — the title for the group of work,” explained art teacher Sherry Wilkinson.
“The students were asked to talk about their concerns for the future, environmental sustainability, and other issues and use their thoughts to create meaningful works of art.”
Some of the work features a three-dimensional planet with a smashed cellphone, a turtle carrying water bottles and caps on its back, a boat with a net carrying garbage and a poster board with political leaders such as U.S. President Donald Trump.
When she first heard about a call for artists to have their work on display at the community centre, Wilkinson said she jumped at the chance to have her students’ work featured. The teacher aims to have her students display their work in public art shows and events a few times each semester.
“If you create artwork that’s just graded and stashed in a folder, what’s the point?” Wilkinson said.
Wilkinson, who has been teaching visual arts for 18 years, said when an artist gets to exhibit his or her work, it helps them grow.
As artists, the students have the opportunity to learn their craft, make mistakes and figure out how to express themselves artistically.
Wilkinson said it’s these opportunities that continue to inspire young artists to expand their palettes.
“I think what the students took away from this particular project is that they realize they can make art out of anything,” she said.
Art
Art and Ephemera Once Owned by Pioneering Artist Mary Beth Edelson Discarded on the Street in SoHo – artnet News
This afternoon in Manhattan’s SoHo neighborhood, people walking along Mercer Street were surprised to find a trove of materials that once belonged to the late feminist artist Mary Beth Edelson, all free for the taking.
Outside of Edelson’s old studio at 110 Mercer Street, drawings, prints, and cut-out figures were sitting in cardboard boxes alongside posters from her exhibitions, monographs, and other ephemera. One box included cards that the artist’s children had given her for birthdays and mother’s days. Passersby competed with trash collectors who were loading the items into bags and throwing them into a U-Haul.
“It’s her last show,” joked her son, Nick Edelson, who had arranged for the junk guys to come and pick up what was on the street. He has been living in her former studio since the artist died in 2021 at the age of 88.
Naturally, neighbors speculated that he was clearing out his mother’s belongings in order to sell her old loft. “As you can see, we’re just clearing the basement” is all he would say.
Some in the crowd criticized the disposal of the material. Alessandra Pohlmann, an artist who works next door at the Judd Foundation, pulled out a drawing from the scraps that she plans to frame. “It’s deeply disrespectful,” she said. “This should not be happening.” A colleague from the foundation who was rifling through a nearby pile said, “We have to save them. If I had more space, I’d take more.”
Edelson’s estate, which is controlled by her son and represented by New York’s David Lewis Gallery, holds a significant portion of her artwork. “I’m shocked and surprised by the sudden discovery,” Lewis said over the phone. “The gallery has, of course, taken great care to preserve and champion Mary Beth’s legacy for nearly a decade now. We immediately sent a team up there to try to locate the work, but it was gone.”
Sources close to the family said that other artwork remains in storage. Museums such as the Guggenheim, Tate Modern, the Museum of Modern Art, the Brooklyn Museum, and the Whitney currently hold her work in their private collections. New York University’s Fales Library has her papers.
Edelson rose to prominence in the 1970s as one of the early voices in the feminist art movement. She is most known for her collaged works, which reimagine famed tableaux to narrate women’s history. For instance, her piece Some Living American Women Artists (1972) appropriates Leonardo da Vinci’s The Last Supper (1494–98) to include the faces of Faith Ringgold, Agnes Martin, Yoko Ono, and Alice Neel, and others as the apostles; Georgia O’Keeffe’s face covers that of Jesus.
In all, it took about 45 minutes for the pioneering artist’s material to be removed by the trash collectors and those lucky enough to hear about what was happening.
Dealer Jordan Barse, who runs Theta Gallery, biked by and took a poster from Edelson’s 1977 show at A.I.R. gallery, “Memorials to the 9,000,000 Women Burned as Witches in the Christian Era.” Artist Keely Angel picked up handwritten notes, and said, “They smell like mouse poop. I’m glad someone got these before they did,” gesturing to the men pushing papers into trash bags.
A neighbor told one person who picked up some cut-out pieces, “Those could be worth a fortune. Don’t put it on eBay! Look into her work, and you’ll be into it.”
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Art
Biggest Indigenous art collection – CTV News Barrie
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Biggest Indigenous art collection CTV News Barrie
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Why Are Art Resale Prices Plummeting? – artnet News
Welcome to the Art Angle, a podcast from Artnet News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join us every week for an in-depth look at what matters most in museums, the art market, and much more, with input from our own writers and editors, as well as artists, curators, and other top experts in the field.
The art press is filled with headlines about trophy works trading for huge sums: $195 million for an Andy Warhol, $110 million for a Jean-Michel Basquiat, $91 million for a Jeff Koons. In the popular imagination, pricy art just keeps climbing in value—up, up, and up. The truth is more complicated, as those in the industry know. Tastes change, and demand shifts. The reputations of artists rise and fall, as do their prices. Reselling art for profit is often quite difficult—it’s the exception rather than the norm. This is “the art market’s dirty secret,” Artnet senior reporter Katya Kazakina wrote last month in her weekly Art Detective column.
In her recent columns, Katya has been reporting on that very thorny topic, which has grown even thornier amid what appears to be a severe market correction. As one collector told her: “There’s a bit of a carnage in the market at the moment. Many things are not selling at all or selling for a fraction of what they used to.”
For instance, a painting by Dan Colen that was purchased fresh from a gallery a decade ago for probably around $450,000 went for only about $15,000 at auction. And Colen is not the only once-hot figure floundering. As Katya wrote: “Right now, you can often find a painting, a drawing, or a sculpture at auction for a fraction of what it would cost at a gallery. Still, art dealers keep asking—and buyers keep paying—steep prices for new works.” In the parlance of the art world, primary prices are outstripping secondary ones.
Why is this happening? And why do seemingly sophisticated collectors continue to pay immense sums for art from galleries, knowing full well that they may never recoup their investment? This week, Katya joins Artnet Pro editor Andrew Russeth on the podcast to make sense of these questions—and to cover a whole lot more.
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