Collectors

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An Anti-Catalog was the work of the Catalog Committee of the group Artists Meeting for Cultural Change (AMCC). A landmark publication of the 1970s, its purpose was to protest the Whitney Museum of American Art’s bicentennial exhibition, which was titled “Three Centuries of American Art.” The Whitney show featured John D. Rockefeller III’s collection of mainly eighteenth and nineteenth-century American art–a collection that featured only one African American and one woman artist. The Catalog Committee, which consisted of fifteen artists and two art historians, spent almost a year producing an eighty-page book containing articles and documents. Originally conceived as a critique ...
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Developed through conversations with members of the art world and written with the help of lawyer Robert Projansky in 1971, Seth Siegelaub’s Artist’s Reserved Rights Transfer And Sale Agreement was designed to safeguard the economic interests of artists, particularly in the case of an artwork’s resale, reproduction, or rental. Intended to serve as an accessible document for all artists, the contract was written in an easily comprehensible style and was widely distributed through art journals and magazines—characteristics shared by much of the artwork Siegelaub was currently representing. Since its publication in English, French, German, and Italian, the document has been ...
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PublisherStylus2017
This unspeakable horror was prepared by Stylus, a “global innovation research and advisory firm, which works with businesses to stimulate innovation and growth.” Full of quotes like “Globally, 69% of UHNWIs have become more conscious about displaying their wealth in public over the past decade,” it’s a guide to trends in maintaining wealth and well-being while assuring nobody resents you for it. There are suggestions for how luxury brands can stand out through charity or “meaningful minimalism” and coerce the desired UHNWI’s to their brands. Also included are tips for where and how to hide when society crumbles. In times ...
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Artists have continually questioned their status and place in society. The widespread vision of the artist as an outsider from the peripheries of social life, a utopia seeker, a celebrity selling works for millions or an erudite nonconformist who voices his or her opinions in the public debate, has spawned many myths concerning their privileges and obligations in the contemporary world. The exhibition formulates a question about the way artists define their status and position in the realm of an ever-widening economic gap: that of the possibility to reconcile dreams of social justice with the needmof artistic freedom and autonomy. At the same time, the show highlights the tension between artists’ rather ...
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PublisherMitchell F. Chan2017
Digital Zones of Immaterial Pictorial Sensibility is a non-fungible token artwork, first minted on August 30, 2017 at InterAccess in Toronto. The artwork is significant not only for being one of the earliest NFT artworks to be exhibited and minted in a legacy art gallery, but also for imagining, in 2017, the ways that non-fungible tokens could advance the conceptualist project of separating the commodity form of an artwork from the experienced form. It also explored the ways the separation changes a collector’s relationship to art. The Digital Zones tell a story about how different concepts of ownership are fundamental to the experience of an artwork. The ...
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Publishere-flux2011
The Gulf War did not take place, as Baudrillard notoriously put it. But now something else has taken place, and it did not happen in the doldrums of virtuality, but in the streets and squares of Tunis, Cairo, Benghazi, and elsewhere. It seems that the prospect of an all-encompassing condition of techno-saturated anorexia, perhaps appropriate for a time when communications networks and the tools for producing reality were situated in the hands of governments and telecommunications tycoons, has been inverted. No one could have foreseen the perseverance of reality over mass-deception, the weaponization of communications networks in the hands of ...
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Publishere-flux2011
In the February 2009 issue of e-flux journal, Luis Camnitzer suggested in his essay “Art and Literacy” that a core problem in education (particularly for artists) can be traced back to an early stage when one is taught to read and write, in that order. On one level, it is simple common sense to suppose that one can only begin to write after learning how to read. But, at the same time, this ordering also takes for granted that consumption must necessarily come before production—only after you consume knowledge will you then be capable of producing it. It is a fundamental ...
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PublisherUntitled, Radio2020
At UNTITLED, ART San Francisco 2020, Withersworldwide presented a lively conversation titled, “Fresh Perspectives on Collecting; What New Collectors Need to Know.” Beginning the process of collecting art can often be challenging for new collectors. Listen to a distinguished panel of experts discuss methods and tips on building an art collection with topics that range from current market trends and art financing to conservation and art insurance. Panelists include Kimberly Almazan, Special Counsel at Withersworldwide and Chair of the San Francisco Bar Association’s Art Law Section, Sophia Kinell, Regional Lead for the San Francisco Bay Area at Phillips, and Paul Becker, ...
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PublisherAperture Foundation2018
In the late 1950s, the Limelight gallery and coffeehouse was the intellectual hangout of Greenwich Village, if not New York. It drew patrons and critics with ten shows per year, featuring the work of such figures as Minor White, Arnold Newman, Ansel Adams, Imogen Cunningham, Brassaï, Julia Margaret Cameron, and Robert Frank. When Limelight opened in 1954, it was the first commercial gallery in the US devoted exclusively to photography; along with the Museum of Modern Art, it became the most important venue for serious photography in the city. Helen Gee: Limelight, a Greenwich Village Photography Gallery and Coffeehouse in ...
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PublisherTalk is Cheap2020
Artist, curator and man about town, Jesse started and ran the iconic 247365 gallery that ran in the donut district alongside Primetime and Know More Games, which if you were around was definitely a moment on the New York scene between 2012-2017. We get into the relationship between his obsession with the malleability and seductive qualities of plastic as sculpture, we avoid the polemic political connotations between the material and the global market and network structure 😉 We also think through the comparison between that and the seduction process and the slippery performance of self that goes into curating and ...
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PublisherKadist2018
Offering an exploration of KADIST’s programs, this publication describes the organization’s way of working and its collaborative approach. The aim of this publication is not to present a comprehensive archive, as our website does, but instead to collect a multiplicity of voices who have participated in the making of the organization and who speak from personal points of view: founders, advisors, team members, artists, and curators we have been working with since Kadist’s inception in 2001. Alongside our mission statement running throughout the pages, is a series of exhibition views creating a visual timeline of Kadist’s exhibition history, each image documenting one ...
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PublisherNew Models2021
Over the past year, speculation has surged beyond business media to emerge as a broad-spectrum cultural theme — think Gamestop, Robinhood, tokenized communities, the rise of NFT art. Reflecting on this phenomenon, NM speaks with the gonzo art world/ art market reporter behind @jerrygogosian, artist HILDE LYNN HELPHENSTEIN as well as MATTHEW CAPASSO, formerly of Christies and now director of Fairchain, a company working to secure artists’ rights to secondary sale residuals. On this ep, Hilde and Matthew pull back the veil on 2021’s art market mechanics, from the clout battles of WhatsApp collector circles to the newly NFT-centric OG ...

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