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Mark Bradford, Elizabeth Peyton and Kazuo Shiraga Top Healthy Sales at Art Basel Hong Kong

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At the opening of Art Basel Hong Kong, collectors and museums returned to the fair’s latest edition with dealers reporting success in placing works across private and institutional collections based in Asia.

In sales reports, dealers said that the return to the Asia-Pacific market hub was a healthy one. Works valued as high as $5 million landed with buyers by Wednesday. Despite some fears circulating among dealers that two recent banking crises in the U.S. and Switzerland might hamper business, the effects have yet to reveal themselves on the fair circuit, sources told ARTnews.

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A group of nearly 20 people, many of whom are high school students, sit and stand in a court yard for a group photo.

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“There’s an appetite for buying art,” Phillips Hong Kong specialist Isaure de Viel Castel told ARTnews. Castel attended the opening day of the fair, which coincided with the auction house opening its new West Kowloon location. Castel and her colleagues had long been awaiting the market’s return to the hub after prolonged lockdown restrictions. “It’s really the first time that Hong Kong is fully open.”

Collectors appeared to be moving with clear intention through the fair, art advisor Ed Tang, who is based between New York and Hong Kong, told ARTnews, describing the pace of the inquiries and buying as moving at a “slightly different rhythm” than what’s typically seen at Western fairs. “I didn’t take it as a sign of hesitancy from collectors. There’s just a lot of choice.”

Collectors like Jens Faurschou, Alan Lo, Yusaku Maezawa, and Maya Hoffman were among the fair’s closely-watched attendees. Drawing some of fair’s high-profile guests this week. according to Tang and Castel, was another attraction in Hong Kong: the opening of the long-awaited M+ museum, decades in the making.

A few dealers said the opening outpaced expectations. David Kordansky Gallery, which has locations in New York and Los Angeles, reported that its entire booth of works on paper and painting by Adam Pendleton sold within the fair’s opening hours. The dealer reported that 11 silkscreen paintings and drawings on Mylar that Pendleton produced last year each sold for prices between $95,000 and $135,000 to collectors in Asia.

Works by Mark Bradford, Alice Neel, George Condo and Kazuo Shiraga commanded the highest prices during the fair’s opening days. Not for the first time this year, Hauser & Wirth reported that works by Bradford and Condo landed with buyers for seven figure sums. Per the gallery, Condo’s 2011 painting Purple Compression, a lavender-hued and Picasso-inspired group of distorted faces, sold at Art Basel Hong Kong for $4.75 million, going to a private collection that’s based between New York and Hong Kong. Meanwhile, Mark Bradford’s large-scale abstraction A Straight Line sold for $3.5 million. Another by Bradford sold from the gallery’s showcase at Frieze Los Angeles for the same price. Works by Henry Taylor, Pat Steir, Ed Clark and Frank Bowling were among the others. Their works sold for prices between $350,000 and $975,000.

Red abstract painting on white canvas.

Katsuo Shiraga, Kisan1, 1991.

Courtesy Fergus McCaffry.

Chelsea dealer Lehmann Maupin saw success in placing works with collectors in the region. Works by Nari Ward, Liu Wei, Lee Bul and Tom Friedman went to Asian buyers, the gallery reported.

Among the other sales made during the fair’s opening days was one by Elizabeth Peyton at David Zwirner. Peyton’s 2005 portrait of a man’s from a side profile view titled Truffaut sold for $2.2 million to a museum based in China, the name of which the gallery did not disclose, but only described cryptically as “major.” It was not the only one by an in-demand artist from the gallery’s roster to see museum attention though. Another piece by provocateur Jordan Wolfson, a sculpture made from stainless steel hardware, nylon mesh, chain, and spray paint, dated from 2016 to 2022 sold for $900,000 to Shanghai’s Long Museum, a recurring buyer on the Hong Kong fair scene.

Other galleries made big figures. New York dealer Fergus McCaffrey made one of the event’s biggest deals, selling a 1991 red abstract painting by Kazuo Shiraga that came from the artist’s estate for $5 million. It went to an undisclosed buyer. At the Brussels-based dealer Xavier Hufkens’s booth, a portrait of a seated woman by Alice Neel, who has seen renewed market attention following a showcase at the Metropolitan Museum of Art in 2021 achieved over the $1 million mark. The 1966 painting, Muriel Gardiner Buttinger sold for a price between $1 million and $1.2 million (the gallery did not disclose the exact sale figure.). Though it was the only work from the dealer’s showcase to achieve a blue-chip price, five paintings by Cassi Namoda and other sculptures by Thomas Houseago and also sold. Those works went for prices ranging between $50,000 and $400,000, respectively.

Meanwhile, dealers based in Europe and U.K saw steady sales that hit big numbers. Cardi Gallery, which has locations in Milan and London and Paris’s Mennour sold paintings by Giorgio De Chirico and Lee Ufan, the first from 1970 and the other from 2014, for prices above $1 million, respectively. London gallerist Stephen Friedman brought a group of works by in-demand artists on its roster. Painting by Andreas Eriksson, Sarah Ball and Caroline Coon that Friedman showcased sold for prices around $100,000 each, the dealer reported. Works by the latter two were purchased by museums.

Elsewhere, works by Calgary-based artist Tammi Campbell that riff on canonical artists like Ed Ruscha and Josef Albers that were brought by Los Angeles dealer Anat Ebgi were sold in the fair’s “Discoveries” section that’s meant to highlight emerging artists. Those works went for prices between $10,000 and $40,000.

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Unique art collection on display – CTV News Vancouver

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Unique art collection on display  CTV News Vancouver

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This N.B. artist joined an online movement. Now her art is being shown across the world. – CBC.ca

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Since joining a community that dreams of an internet free from giant corporations that can exploit users’ time and data, Victoria West’s digital artwork has been exhibited across the globe.

West, a photographer and digital artist based in Burton, 30 kilometres southeast of Fredericton, has had her work shown in Paris, Rome, Barcelona, Townsville in northeastern Australia, Miami, New York City, and even a museum in Albuquerque, N.M., — all through connections she’s made in Web3.

West warned it was a “rabbit hole,” but what she found in wonderland she doesn’t believe she’d find anywhere else.

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Web3 is a future version of the internet. 

WATCH | Step inside Eden’s Dye, Victoria West’s NYC exhibit:

N.B. photographer explains how AI has freed her art from constraints

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Duration 2:23

The work of Victoria West, a photographer and digital artist based in Burton, was recently showcased at an immersive exhibit in the Big Apple.

Web1, West said, was the first version of the internet, in which users passively consumed information.

As the 2000s dawned, Web2 emerged, and users could now post their own content — think Twitter, blogs, YouTube. People are now creating more and more in digital spaces, but the downside of Web2 is that corporations are technically still the owners of all that creation, and they could take your data and potentially do with it as they please.

Enter Web3, which still exists more in theory: nobody and everybody owns the internet. This version aims to be decentralized. It doesn’t eradicate the distrust some people have in mega companies like Google and Meta — it just removes the need for it, because no one person or organization can own the blockchain Web3 operates on. 

West said within Web3 there’s an art movement, with artists working together and taking control of their work. Imagine if Leonardo da Vinci had an internet connection, as well as Raphael, Michelangelo and Donatello. It’s the renaissance all over again, West said, except it’s happening with digital art.

“And it’s happening online on a much bigger scale.”

Before learning about W3 in 2021, West said she was in a photography bubble.

A floor lights up with a digital winding path and flowers. The walls are artistic images of women with flowers blossoming from their faces.
Victoria West designed this whole exhibit, including the floor. Working with a coder friend and two well-known actors and poets, Vincent D’Onofrio and Laurence Fuller, Eden’s Dye became a multi-media experience. (Victoria West)

Photography isn’t the art form West imagined herself pursuing when she was younger. But when she bought a camera after the first commercial digital models arrived on the market in the mid-2000s, she was hooked.

“I was bothering everybody around me to take their portrait,” she said.

She built up her portraiture business, becoming involved with the Professional Photographers of Canada and competing in photography contests. Still, West didn’t want to just capture moments — she wanted to make them. 

A piece of art shows a naked man curled up in the palm of a giant, stone-like hand. The world appears a wasteland in ashes behind them.
Victoria West created this piece of digital art, which was exhibited at The Crypt Gallery, another gallery in New York City. (Submitted by Victoria West)

That’s when artificial intelligence came on the scene. 

West was using Midjourney, a generative AI program, when it was still in beta testing. Around the same time she became involved with Web3, she experimented with blending AI-produced textures into her photography. In her business, AI quickened her workflow and allowed her to change backdrops and furniture. 

While creating a piece in 2023 called When I Die, West wanted to design a man underground with roots blossoming into a tree. Well, there aren’t any blossoming trees in Canada in February, West joked — so she made the tree using AI.

“I feel like someone took handcuffs off me, and I’m free,” she said.

A woman with long, wavy hair in balayage blonde colouring stands in a photography studio.
West says technology will progress and the internet will change, but what she really wanted was for people to walk into Eden’s Dye and be amazed by the experience. (Shane Fowler/CBC)

Lauren Cruikshank, an associate professor in culture and media studies at the University of New Brunswick, has spoken about the use of AI in universities, but she also thinks about it through an artistic lens.

From the camera to spell check, Cruikshank said the same discussion happens with each new medium: how much of the artistry belongs to the artist, how much to the tools they’re using?

“For some people where it gets uncomfortable is where the role of the human is minimal compared to how much the AI tool is creating or having creative influence,” she said.

With AI, Cruikshank agreed there are degrees — there’s a difference between prompting an AI to generate an image of a beautiful sunset and claiming it as your artwork and what West is doing, combining AI with her own artistry. 

“That sounds really compelling to me,” Cruikshank said.

A smiling woman with wavy blonde hair and wearing a charcoal turtleneck stands in front of a bookshelf.
Lauren Cruikshank is a professor in the media studies department at the University of New Brunswick. (Submitted by Lauren Cruikshank)

When West first saw Lume Studios on Broadway in lower Manhattan, the place she’d eventually display Eden’s Dye, her immersive art exhibit, she knew she wanted it immediately.

She collaborated on the exhibit with some of her Web3 friends. Los Angeles actors and poets Laurence Fuller and Vincent D’Onofrio wrote poetry to accompany each piece of art, which West created using both photography and AI. A coder friend joined the crew, and the result was a floor-to-ceiling immersive exhibit. West’s collaborators also choreographed performances to complement the art, using music produced by AI.

“Why wouldn’t I do that if I can?” West asked. “It’s freeing, I think, and lets you push the boundaries of photography and what you can do with it.”

While the exhibit leaned heavily on romantic, classical themes and Baroque aesthetics, Eden’s Dye is almost a premonition: minted, digital artwork taking up entire walls in people’s homes, flowers growing from code, experiencing art in virtual realms.

Demand will only grow, West said. Technology will progress and the internet will change. But what she really wanted was for people to walk into Eden’s Dye and be amazed by the art they were experiencing.

“They came because of the art, and they were there enjoying the art. You don’t really need to understand anything beyond that.”

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Niagara quilt expo to explore history of modern art form – Welland Tribune

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These aren’t your grandma’s quilts.

Being a grandmother herself, Lorna Costantini said she’s not a huge fan of the above phrase, but she can’t help but use it to describe modern quilting.

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