When Claire Jones stepped into the apartment of her husband’s late uncle for the first time, she discovered what looked like the trappings of a carnival.
Art
Keith Haring’s Personal Art Collection to Be Auctioned for Charity – The New York Times
Owning a private collection of nearly 140 artworks by luminaries like Jean-Michel Basquiat, Andy Warhol and Roy Lichtenstein would be a godsend for most arts organizations, but it was a burden for the Keith Haring Foundation.
Legal counsel had warned the nonprofit for years that keeping a collection made by artists other than its founder might fail to serve its charitable purpose. So last year the foundation began arranging with Sotheby’s to sell the artworks in an online auction called “Dear Keith,” with all proceeds benefiting the Center, an L.G.B.T.Q. community organization in the West Village.
The sale is scheduled to begin on Sept. 26 and is expected to raise nearly $1 million with a selection ranging from a $100 painting by David Bowes to a $250,000 Warhol print featuring Mr. Haring and his lover Juan Dubose. An exhibition of the collection will also take place online and by appointment at the Sotheby’s headquarters in Manhattan.
“It feels as if Keith himself rallied his friends to make art for this specific purpose,” said Gil Vazquez, acting director of the foundation. “The Center embodies so much of what Keith was about: community, empowerment and the support of our future, the youth.”
The auction features a significant number of artists associated with Club 57, the storied nightclub located in a church basement that operated through the late ’70s and early ’80s as home base for members of the East Village’s avant-garde scene like the sculptor Bruno Schmidt and the performance artist John Sex. Members from the period’s street art movement are also well represented in the collection, with John Matos, Lady Pink and Lee Quiñones being particular standouts.
“The collection is remarkably autobiographical, just as any great collector’s estate is a window into their individual perspective,” said Harrison Tenzer, head of Sotheby’s online contemporary art sales. “Keith Haring collected through relationships to those he was stylistically, morally and intellectually aligned with.”
And according to the auctioneer, “Dear Keith” comes at a moment when buyers are becoming more comfortable with explicitly queer work. “The market is changing, and there are also great L.G.B.T.Q. collectors who want to support their own community,” added Mr. Tenzer.
Largely considered one of the most successful graffiti artists of his time, Mr. Haring gained international recognition for his cartoonish universe of dancing figures and barking dogs. His short career began as a graffitist in New York’s subway system and developed through the
’80s with dozens of museum exhibitions, public art commissions and advertising deals. He was also known for his political activism, particularly around homophobia and the AIDS crisis. The 31-year-old artist eventually died from complications of the virus in 1990; the Sotheby’s auction commemorates the 30th anniversary of his passing.
“Keith Haring fostered hope and resilience during difficult times,” said Glennda Testone, executive director of the Center. “He painted his 1989 mural, ‘Once Upon a Time,’ on our walls to celebrate sexual liberation and envision a world without AIDS, in direct opposition to the fear and stigma that fueled that pandemic.”
And help couldn’t come fast enough for the Center, which is facing a projected $5.4 million shortfall in revenue because of the coronavirus pandemic. According to Ms. Testone, the loss amounts to a 34 percent decrease in funding at a moment when the nonprofit has experienced a 40 percent increase in demand for services like mental health counseling and substance abuse treatment. (On average, the Center serves around 340,000 visitors per year.)
“Sometimes, I like to think what Keith would do if he were still alive,” said Ms. Testone. “I think that he would be really proud of the work that we are doing within our community to strengthen our bonds and our resiliency.”
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A giant concrete sculpture of a roaring lion’s head stood in the living room, enveloping the fireplace. Looming in the next room was a giant Minotaur head. Papier-mâché sculptures littered the hallways and colorful murals adorned every wall and ceiling, even in the bathroom.
Jones and her family had known Ron Gittins as an eccentric and solitary artist. But they hadn’t realized until shortly after he died in 2019 at age 79 that he had carved, sculpted and painted his passion onto the walls of his rented apartment in Birkenhead, a riverside town in northwestern England where he lived alone.
It couldn’t stay, Gittins’s landlord had said. But Jones knew she wanted to preserve the scene.
“I was just kind of like, ‘We can’t just let this go,’” she told The Washington Post.
For years, Gittins’s family worked to protect his whimsical life’s work, insisting that the apartment, “Ron’s Place,” was an irreplaceable art installation worthy of preservation. This month, the British government agreed. Historic England, a national body that designates historically significant sites in England, added Ron’s Place to its National Heritage List, the family announced in early April.
The designation, which forbids an owner from making changes to Ron’s Place without governmental consent, places Gittins’s apartment among the ranks of the medieval churches and Victorian villas that usually receive such recognition in the country, securing an unlikely legacy for Gittins’s creation. The apartment received a Grade II listing, which is given to “particularly important buildings of more than special interest,” according to Historic England.
“This was Ron, who led a very small, private life,” said Paul Kelly, a board member of the Wirral Arts and Culture Community Land Trust, an organization created to manage Ron’s Place. “Suddenly, he was being recognized as having done something of interest on that scale. … What an extraordinary thing.”
Gittins, a self-employed artist and theater performer, was an outcast of sorts among his family, his niece Jan Williams wrote to The Post. He showed up at reunions in flamboyant outfits and spoke in codes, joking that he was a secret agent. He was known in Birkenhead as the local eccentric who sometimes strutted around town dressed as a Roman centurion.
He was, Williams said, “colorful, larger than life, loud, opinionated, argumentative yet affectionate.”
Gittins kept his family at a distance. He let few people into his apartment, which his rental agreement had permitted him to decorate “to his own taste,” according to the Ron’s Place website.
Walking into Gittins’s home after his death felt like finally discovering the world he’d been inhabiting, Williams said. The lion’s head glistened with eyes made from shards of glass, and a frying pan sat in its mouth. Strewn around the apartment were smaller models, like an Egyptian sarcophagus that opened up to reveal a model mummy. While sorting through Gittins’s possessions, Williams found a postcard he had written addressed to her, saying that he couldn’t wait to show her his creations.
“Ron had created a fantasy world for his own pleasure,” Williams said. “A sort of stage set where he played the leading role.”
Williams, herself an artist and photographer, led the effort to save Gittins’s apartment. She first arranged to keep renting the apartment from his landlord, fundraising to cover the cost and forming a community organization to manage the space. Endorsements trickled in from singers, authors and sculptors who visited Ron’s Place at the family’s invitation. They landed a story in the Guardian and a video feature from the BBC.
In November 2022, the building that housed Ron’s Place was put up for auction. Buyers circled, and Williams scrambled to raise the hundreds of thousands of dollars they needed to win a bidding war. It ended in a “fairytale-style” miracle, Williams said: On March 1, 2023, the last day of the auction, a donor emailed with an offer to lend Williams’s organization most of the money it needed to purchase the building for about $400,000. The donor told Williams she had learned about Ron’s Place that morning, while reading the newspaper on her commute.
“It felt as if it was meant to be,” Williams said.
In a Hail Mary bid to delay the sale, Williams had also petitioned Historic England to list Ron’s Place as historically significant. It was a long shot — the designation is normally given to churches, inns and manors with centuries’ more history than Gittins’s apartment.
Historic England, however, heeded her request, even after Williams and the land trust secured ownership of Ron’s Place. When Sarah Charlesworth, an evaluator with Historic England, visited the apartment later that year, she immediately noticed the same floor-to-ceiling lion statue that had greeted Williams and Jones years earlier.
“I was actually thinking ‘This is a slam dunk’ as soon as I came in,” Charlesworth said.
Ron’s Place seemed to her like a striking example of “outsider art” — artwork created by people with no formal artistic training and without the intention of being exhibited or sold. It was, Charlesworth said, a facet of Britain’s history just as worthy of preservation as its churches and castles.
“Listing is not just about stately homes and chocolate box cottages,” she said. “It is about being representative and inclusive and making sure that we do represent all aspects of the nation’s history.”
The apartment is closed to visitors as it undergoes repairs. Williams and Kelly, the Wirral Arts and Culture Community Land Trust board member, said the organization has plans after acquiring the entire building that houses Ron’s Place, which also includes a garden and three upstairs apartments. They hope to preserve Gittins’s artwork on the ground floor as a museum and art space and renovate the other apartments into low-cost housing units for artists.
It’s an unlikely legacy for Gittins after devoting much of his life to the secret world in his apartment, Kelly said. But he thinks Gittins would be pleased to see others taking notice.
“Ron was a real outsider,” Kelly said. “But … this has been recognition for his work. He would be loving it.”
Art
PARIS RESTAURANT PLÉNITUDE IS REVEALED AS THE RECIPIENT OF THE ART OF HOSPITALITY AWARD 2024 … – Yahoo Canada Finance
Announced in advance of the awards ceremony for the first time ever, this accolade seeks to help raise the profile of the art of hospitality
LONDON, April 18, 2024 /CNW/ — Paris restaurant Plénitude is revealed as the recipient of the Art of Hospitality Award 2024 from The World’s 50 Best Restaurants, ahead of the official ceremony taking place in Las Vegas in June.
Located on the first floor of the French capital’s Cheval Blanc Paris, Chef Arnaud Donckele and Director Alexandre Larvoir have created in Plénitude an ode to the tradition of French fine dining, spending two years choosing the crockery, artisans, ceramicist and fabrics that help to create the restaurant’s intimate ambiance. With just 30 covers, every detail delivers an intimate experience for its diners, complete with the restaurant’s signature French elegance.
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Normandy-born Chef Donckele, who also runs Cheval Blanc Saint-Tropez fine dining restaurant La Vague d’Or, has taken on the role of master perfumer in his creations to make sauces, known as the essence of French cuisine. In his hands, each is treated like a perfume or liquid painting, created such that the sauces are the main event, with meat and fish as their complements. Under the leadership of Larvoir, the restaurant’s impeccable service team knows Donckele’s creations intimately and conveys their essence to guests stepping through the door of Cheval Blanc Paris, which was placed at No.34 on The World’s 50 Best Hotels 2023.
William Drew, Director of Content for The World’s 50 Best Restaurants, says: “We are thrilled to announce Plénitude as the winner of this year’s Art of Hospitality Award. Despite its relative youth, this Paris restaurant has been making waves on the global gastronomy scene for its flawless and inventive approach, celebrating the art of service and showing the world that French hospitality remains at the top of its game.”
Chef Donckele says: “Give yourself the pleasure of giving pleasure.” Larvoir adds: “At Plénitude, service is a wonderful encounter at every table. We seek to welcome our guests as if they were at home, to discover and understand them, to captivate and move them thanks to Arnaud’s fabulous sauces, to make them laugh too, before leaving them with the sincere wish to see them again soon.”
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Art
Canada's art installation at Venice Biennale rooted in research, history, beauty – Hamilton Spectator
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Hundreds of thousands of tiny glass beads will soon be twinkling in the sun across the entire Canadian pavilion at the Venice Biennale, Canada’s newly revealed entry in one of the world’s most prestigious art fairs.
But Kapwani Kiwanga, the Hamilton-born, Paris-based creator of the work, wants you to get past the cobalt blue glass glinting in the Venetian light. She wants you to think of each bead as a character.
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