The overflow crowd at Christie’s auction house broke into applause when the gavel fell on the blockbuster art sale of the decade. On the evening of November 15, 2017, a little-known Saudi prince, bidding over the phone, agreed to pay $450.3 million for “Salvator Mundi,” a 500-year-old portrait of a solemn Jesus Christ hyped by Christie’s as the “The Last da Vinci.” No matter that many art scholars believed the work was a product of Leonardo’s studio rather than the master himself.
Few artworks have aroused as much curiosity. Since the sale, the painting seems to have gone missing. The Louvre Abu Dhabi abruptly canceled a scheduled unveiling in September 2018. The latest speculation is that Saudi Arabia’s ruler, Crown Prince Mohammed bin Salman, whisked away the painting in the middle of the night on his private plane and stowed it on his $500 million yacht, Serene, currently sailing who knows where.
Is “Salvator Mundi” the most expensive artwork ever sold? It’s not clear. Although auction houses trade their treasures in public, most transactions take place privately. Still, record-breaking sales have a way of coming to light.
After combing through news reports and legal documents, we’ve put together the highest-priced known art deals in each year of the last decade. See the slide show for pictures and prices. Tap to move from one slide to the next.
In second place: “Interchange,” a 1955 abstract expressionist oil in cream, orange, yellow and sea green by Willem de Kooning, which fetched $300 million in September 2015. Chicago hedge fund billionaire Ken Griffin reportedly paid entertainment billionaire David Geffen’s foundation a total of $500 million for two works. The second was “Number 17A,” a 1948 drip painting by Jackson Pollock. Griffin loaned both works to the Art Institute of Chicago, where he is a trustee.
Paul Cézanne’s “The Card Players” brought the third-highest price of the decade. In 2011 the nation of Qatar paid the estate of the late Greek shipping magnate George Embiricos $250 million, according to a report in Vanity Fair. In the 1890s Cézanne painted a series of four versions of Provençal farmhands relaxing over a game of cards. The other three are in museums, including the Metropolitan Museum of Art.
See our slide show for the rest of the top ten. If there’s a lesson from the decade’s sky-high prices, it’s that the art market’s ceiling keeps ascending.
Powerful and creative art pieces on display in new exhibition – inbrampton.com
Afeefah Haniff, Colored Walls
“Youth are the future and their voices deserve to be heard.”
That’s the main message on display at the newest virtual exhibition from the Peel Art Gallery, Museum and Archives (PAMA).
Art Voice 2020, which showcases the artistic talents of 70 youth artists in Peel Region, began in June of this year when PAMA sent a virtual call out to artists in the region. What they got back was a huge amount of art pouring in from visual artists, poets, musicians, and spoken word performers.
Rachel Walinga, Kobe
While there was no specific theme for the first year of the project, many artists based their works on timely themes including protests against anti-Black racism, police brutality, Islamophobia, environmental degradation, and the impact of the COVID-19 pandemic.
There are also themes of beauty, love, power, vulnerability, resilience, unity, defiance, challenging stereotypes, explorations of identities, and hope.
PAMA’s fifth virtual exhibition during the closure of the facility due to COVID-19, it was created in partnership with the Regional Diversity Roundtable.
“I am stunned by the wealth of talent that our youth have! The themes that I felt emerged from the submissions were nature and its amazing colours and portraits. We witnessed many self-portraits or reflections of oneself in others,” said Loloa Alkasawat, a Regional Diversity Roundtable Community Leadership Program ambassador.
Ashley Beerdat, Battle of Benento
When asked what the stand-outs were, fellow program ambassador Anupama Aery said Marissa’s spoken word piece powerfully describes the experience of violence against Black youth and its impact on the community.
“This piece highlights the importance of the Black Lives Matter movement and the need to address the systemic racism within our society,” said Aery.
Peel Art Gallery Museum Art Voice: Marissa
There’s also Salimah Husain’s powerful spoken word piece entitled “Judge Me,” which describes the consequences of Islamophobia and the experience of being discriminated against due to visible markers of Muslim identity.
Peel Art Gallery Museum Art Voice: Salimah Husain
Chelsea Coleman’s scratchboard art piece entitled “Queen” depicts a side portrait of a beautiful Black woman, emanating strength and confidence.
Chelsea Coleman, Queen
Rand Salamkhan’s painting depicts a forest of trees with colourful skies, leaves, and streams of light that have a beautiful, dream-like quality. “This piece represented feelings of hope for me,” Aery said.
Rand Salamkhan, Sunset Vibes
“One that resonated with me personally was the artwork Right Before Our Eyes from Mariam Elehamed, which resonated with me being of Syrian origin and having experienced the war on Syria,” said Alkasawat.
“It is a portrait of a group of people seeking refuge in a boat – although she does not show a boat – and their oblique journey. Their faces, through expressionless, also reveal sadness and hope at the same time.”
Mariam Elehamed, Right Before Our Eyes
Those are just a few pieces – there are many more to discover! Residents are invited to tune into the premier special event during Culture Days weekend on Saturday, September 26 at 2 pm @visitPAMA on Facebook, Instagram, and YouTube, and they encourage you to share your feedback and questions about the exhibition. Be sure to also join in the conversation online with the hashtags #ArtVoicePeel and #YouthArt.
Abdul Rahman Najjari, Untitled
Residents can also follow along at culturedays.ca/en/events and create alongside PAMA as they focus on a series of online portrait activities each week during Culture Days (September 25 to October 25).
For those who prefer a non-virtual experience, PAMA is expecting to reopen its doors in late fall! For more information, check out pama.peelregion.ca and follow PAMA on Facebook, Instagram, YouTube, and Twitter.
Window art contest in Prince Albert – paNOW
“When the lockdown first happened, we were seeing lots of communities decorating their windows and doing cool things like that to make it a little less dreary and sad that we were all locked up inside,” Wirtz said.
Winners of the contest will be announced on Sept. 30 in two different categories. There will be a business category with the winner receiving $50 gift cards to Sandra’s Framing Gallery as well to a local restaurant. The residential category winner will receive $50 gift cards to a local restaurant and to On the Avenue Artisans Gallery. Submissions will be judged by the amount of likes a post receives.
“We saw some communities that made it up into little contests and got lots of people to decorate their windows,” Wirtz said. “Then we thought Culture Days would be a great opportunity to roll that out since it’s raising awareness for arts and culture.”
According to Wirtz, the idea is a great way for everyone to show off their artistic talents.
“Even if they don’t want to come to in-person events yet, you can still decorate your window at home,” Wirtz said.
Those who do not feel comfortable going to an art gallery just yet, can still enjoy the beauty of art, by walking around their neighborhood and looking at the projects being done by those in their community.
“I would love to see more businesses get involved, I think that would be really cool,” Wirtz said. “I would love to drive around and see one that is decorated.”
Artists who are stuck on inspiration can head to the Culture Days Facebook page for tips, tricks, and DIY window paint and chalk recipes.
Meanwhile the City of Prince Albert is also looking for a local artist to paint a mural on the exterior wall of the Prairie Cannabis building on Second Avenue W.
In another Culture Days public art initiative, the boulder at the downtown transfer station will also be painted.
With files from Alison Sandstrom
On Twitter: dawsonthompson8
TrepanierBaer offers glimpse of the 1980s work of 'Alberta art royalty' Carroll Taylor Lindoe – SaltWire Network
Inspiration works in mysterious ways.
Roughly two years ago, an art collector contacted Yves Trepanier inquiring about a series of large-scale charcoal drawings by Carroll Taylor Lindoe, an artist his gallery represents. It turns out, the piece of art he was after wasn’t available. But it prompted Trepanier to look at his inventory of Taylor Lindoe’s work at TrepanierBaer. Eventually, a small exhibition was launched in April 2019 to introduce the artist to a new generation of art enthusiasts and collectors.
“People went crazy,” says Trepanier. “It was like ‘Wow, this is great: Carroll is back.’”
Still, few thought that the modest exhibition would prompt Taylor Lindoe to start creating again, including the artist herself. She had been retired from both teaching and her artistic practice since the early 2000s, when she moved with her husband to Denman Island off the coast of Vancouver Island.
On the phone with Postmedia earlier this week, the 72-year-old artist is taking a rare break from the fall harvesting of fruit and vegetables on her island home, where she has lived a somewhat reclusive life since 2003. She built a studio on the property not long after moving there, but over the years it had mostly been used for storage.
“This sort of life that we have here is something that I’ve always wanted,” Taylor Lindoe says. “It wasn’t that I was running away from my art practice so much as going to something that was close to my heart. But while I left my practice behind, it didn’t take much for the interest to open up that door into my mind again and get my mind thinking about art again and about the pleasure of making it.”
Taylor Lindoe, whose practice includes drawing, sculpture and painting, will not reveal specific details about what she has been creating this past year. Nor will Calgarians get a chance to see new pieces as part of Carroll Taylor Lindoe: Inch, Foot, Yard, Mile, her first solo show in two decades that runs until Oct. 10 at the TrepanierBaer. The works on display are mostly from the 1980s, a wildly productive period for the artist that found her immersed in a number of disciplines. That allowed her an eclectic approach, demonstrating a great sense of “geometry, architecture and abstraction with allusions to figure and landscape,” Trepanier says.
It’s a reminder of the place of prominence the artist held in Calgary’s art scene, which made her sudden disappearance from it nearly two decades ago all the more jarring, he says. Her family roots go back to early pioneers of Alberta and the pioneering western Canadian culture has always been “very much a part of my being,” she says. Her parents were also pioneers of sorts. Her father Luke Lindoe was a prominent ceramic artist, painter, sculptor and businessman. Her mother Vivian Lindoe was also a painter, printmaker and ceramist. The couple became part of a small, tight-knit group of post-war artists practising in Calgary.
“The artist’s community in the ’40s and ’50s was very much a pioneering community,” Taylor Lindoe says. “It was a small group of people. They were all very tied together, they all knew each other. There were no artist-run galleries until the 1970s. People showed where they could. Really it was a social group.”
Taylor Lindoe eventually studied at the Alberta College of Art and Design and taught there until she moved to B.C., inspiring generations of Calgary artists. She was married to Ron Moppett, a prominent Calgary painter. Their son, Damian, is also an artist currently living in Vancouver. In short, she is a part of “Alberta art royalty,” Trepanier says.
The exhibit at TrepanierBaer, while focused on a relatively brief period in Taylor Lindoe’s 40-year-career, showcases her versatility in sculpture, painting and drawings. They include everything from the 16-work Image Poem, a collection of ink on mylar and watercolour pieces inspired by an eye-opening trip to Macedonia in the 1980s, to Figure in Landscape with Black Stairs, a painted wood sculpture inspired by her walks through Calgary, to Untitled #4, a 1987 abstract charcoal drawing.
“She was moving around from one medium to another and was ahead of her time,” says Trepanier. “If you think back to how artists were 20, 30 years ago, if you were a painter you were a painter. You might fool around with something else, make some drawings or prints, but she really moved and there’s a cross-disciplinary interest, a flexibility in her work approach. It’s just the way she is. I think she gets bored if she just does one thing and plateaus there. She wants to get off and go onto the next thing.”
As for her next thing, Taylor Lindoe does not reveal too many details. This is not because she is being secretive, but because she has a hard time planning or predicting what will happen.
“It’s coming from the subconscious,” she says. “That part of a person is not very directable … There will always be a sense of place and there will always be a physicality and there will be a psychic reality to it. So whatever it is, however it gathers in on the work I’m doing, whether it’s drawing or paintings or sculptures, those elements will always be there.”
Carroll Taylor Lindoe: Inch, Foot, Yard, Mile runs until Oct. 11 at TrepanierBaer. Visit trepanierbaer.com
Copyright Postmedia Network Inc., 2020
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