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A world auction record was set for Roy Lichtenstein with one of his early Pop Art pictures dating from 1961. The estimate for the scene based on a cartoon, which depicts a man peeping through an opening and shouting: "I can see the whole room ... and theres nobody in it," was boldly set at $35 million to $45 million. The auctioneer, Christopher Burge, brought down his hammer as a $38.5 million bid came over the telephone. The price was $43.2 million with the sale charge in excess of 12 percent.
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NEW YORK In a stunning performance given the climate of economic misery, Christies on Tuesday sold 82 postwar and Contemporary works of 91 offered, for $247.59 million. The low 10 percent failure rate was remarkable by any standard.
Astonishing as they are, even these records did not fully reflect the wave of enthusiasm that carried the room through the first hour of the session.
A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics.
The first 31 lots sold without a hitch. That is a rare feat in the Contemporary Art field, where sudden fits of weakness are more likely to happen than in most other areas, if only because there are few criteria by which aesthetic achievement or quality of execution can be measured and described in straightforward terms.
Christie’s
Paul McCarthys "Tomato Head (Green)" lives up to its title. Made of fiberglass, urethane, rubber, metal, plastic fabric and fitted with a painted metal base, the standing figure looks like some Mickey Mouse descended from Mars. Executed in 1994, (...) , the specimen at Christies was described as "one of three unique green variants." On closer inspection, the variations in question lie in the color of the man-made creatures shirt, which could be green (as at Christies), black or burgundy. The model gained its institutional credentials in multiple museum shows, including one this year at the Guggenheim in Bilbao, Spain, where another specimen was on view. Exhilarated by such assurances, bidders ran up "Tomato Head (Green)" to $4.56 million, a world record for a work to which Mr. McCarthys name is attached.
A telling indication of the bullishness of buyers was the zest with which they bid on works from the Peter Norton Collection, which accounted for the first 29 lots. A majority of them fell into what spectators who are not into Contemporary Art might be led to classify as pranks.
Soon after, Charles Rays plexiglas and steel table laden with glass vessels very nearly caused the same excitement. Executed in 1990 in an edition of three plus one artists proof, the table realized $3.1 million, two and a half times the high estimate. Christies experts, eager to establish the ancient lineage of Mr. Rays table, reproduced by way of comparison Chardins 1760 still life of objects set on a wooden board, (...) , now hanging in the Louvre. It looked like a bit of a joke. On Tuesday, buyers presumably took it very seriously.
Mike Kelley's "Ahh ...Youth!" from 1991.
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A monumental bronze spider by Louise Bourgeois, cast in 1966.
ArtsBeat
The records illustrate the feverish search for works held to be icons by famous artists and acknowledged as such through multiple shows in major museums. Public display in open spaces helps. Another cast of the spider was on view in 2001 on Rockefeller Plaza between Fifth and Sixth avenues, not far from Christies.
If doubting Thomases wondered whether this was a work of art or simply a toy for adults pining for the electric trains of their childhood, the endless list of exhibitions where one or the other specimen had appeared must have dispelled their concerns. The Hirshhorn Museum and Sculpture Garden in Washington ("Distemper: Dissonant Themes in the Art of the 1990s," 1996), the Museum of Modern Art in New York ("On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection, http://www.sacstlouisvuittonfr.com ," 1997-1998) and many more all displayed one specimen. And if they do not know what art is, who does? "Prison Window" was sent rocketing to $3.39 million.
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Three-dimensional gimmickry was greeted with unbridled enthusiasm. Robert Gobers "Prison Window" is a box construction involving, as Christies catalogue put it, "plywood, forged iron, plaster, latex paint, incandescent and fluorescent lights and electrical hardware." This work was No. 5 of an edition of five plus one artists proof, the experts gravely explained.
A world auction record was set for Roy Lichtenstein when one of his early Pop Art pictures, from 1961, sold for $38.5 million.
Mike Kelleys "Ahh ... Youth!" belongs in the same jocular category. The set of eight prints variously representing a colored photographic portrait, a bunny, a teddy bear and some nondescript figures was executed by Mr. Kelley in 1991 in an edition of 10 plus two artists proofs. The set galvanized the attendance and ended up at $902,500.
Two other records were established for Louise Bourgeois and Paul McCarthy. A monumental bronze spider by the French-born sculptor Bourgeois cast in 1966 went up to $10.72 million, making it her most expensive work ever sold on the open market. The price exceeded the highest expectations by roughly a third. It was huge for a bronze that was cast in an edition of six, following a first edition, also of six.
It takes a different casting approach to do justice to the refocusing of all eyes away from legs to the plentiful bosom. Thus, Jacobs had called on Laetitia Casta, Bar Refaeli, Catherine McNeil, Karolina Kurkova, and finally Elle Macpherson, http://www.borselvsolds.com/ , all women whose physical attributes have acted as a disqualification for fashion show participation for so long. Not that the rehabilitation of the embonpoint was vulgarly done. Jacobs framed it more as a fresh, (...) , feminine, ingenue look, with hair scraped back into high, bouncy B.B. ponytails; clean makeup; and square-toed, (...) , block-heeled pumps trimmed with flat bows—another angle on the Mad Men era but this time with a charming Frenchified accent. The show swung along prettily as a fountain sprayed and jolly fifties movie music played in the middle of the tented courtyard, creating that quintessentially Parisian atmosphere, a sense of all being right in the best of all possible cities to be appreciated as a woman.
If there was little to zero variety in silhouette—and the dirndl-esque petticoated skirt can't be for the many—the items and trimmings exemplified the Vuitton knack for classy detail, as in fur buttons and collars and glittery heels. And above all, this (...) show provided a charming backdrop to display the bags. This season, http://www.sachermesfrance.com/ , it's a zillion mignonne reinterpretations of the classic Speedy. Here, that functional shape, designed in the 1930's, came flocked and sequined, smothered in guipure lace over satin, or woven in metallic thread and done up in fox.
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