Newsletter №2

GENTLY DISCOVERING ART BRUT

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A museum of distinguished unknowns unable to remain incognito

Installation, Museum of Everything

Walking around the streets of London, you perhaps ask yourself about the red and white badges “I love ... EVERYTHING” pinned to the buttonholes of duffle jackets...

Open during, and in partnership with, the Frieze Art Fair (October 14-18, 2009), the Museum of Everything has thus far attracted more than 20,000 visitors. The evening of the private showing, the visitors were greeted with fanfare. Push open the door of this exceptional spot, the entrance is free. Happy retirees greet you and for a few token pounds warmly offer you to buy these famous badges...

Formerly a dairy, this London house has witnessed the Rolling Stones, Madonna and their numerous fans in the Mayfair recording studio which had occupied the location. The building was then abandoned during many years until the young producer and director, James Brett, decided to restore it.

For its first exposition the Museum of Everything is presenting two hundred artists' paintings, drawings, sculptures and installations dedicated to the outsiders...

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Art Brut : a market for the disconnected

by Jeanne Calmont

In reaction to the formalism of expression encountered in society and against the engendered platonism of international abstract art, Art Brut, informal art or perhaps better considered as the « other art » made its presence felt in the art market of the mid 1940s during exhibitions dedicated to marginal artists displayed at the Galerie René Drouin (Paris), among whom figured the guardians of the method, Dubuffet and Fautrier (the highest grossing to this day).


An artist gifted with artistic conscience, Jean Dubuffet (1901-1985) found celebrity much more rapidly than Fautrier. Choosing neo-primitivism based on urban graffiti as his work, he produced sketches of children and the mentally-ill. The limited usage of materials in his pieces, made of monochromatic mud or impasto, met with early success, and was supported by Jean Paulhan in his informal painting review “Eloge.” With works such as “Arab with a Shotgun” (oil on canvas, 1948) brought for, €903,518 at Sotheby’s London and “The Hairdresser” (oil on canvas, circa 1950), sold for €682,080 at Christie’s London, both in June 2009, current market prices certainly do not refute this success. The latest contemporary art sales in New York (on November 11 and 12, 2009) offered no less than 13 of the artist’s pieces. While the work “Portrait of a Man in a Bowtie” issued from Paulhan’s collection fetched a price of €556,893, the work “Trinité-Champs-Elysées” (oil on canvas, 1961) brought in a record of over 4 million Euros at Sotheby's. The numerous sketches and drawings done in black felt pen emanate from the period in which Dubuffet’s pictorial writings became puzzle-like are being negotiated between 10,000 and 50,000 Euros.
After two works on paper flew up to €225,000 and €316,818 at Sotheby’s (Paris/ London) in May and June 2009, in New York, “The Sorcerer” (ink and collage on paper) from Pierre Matisse’s gallery (New York) sold for €92,885 at Sotheby's and “Situation XXXVII” (ink and collage on paper) for €15,694 and “Scenery from the window” (ink on paper) for €28,910 at Christie's. Among the monumental epoxy/ fiberglass/ polyurethane sculptures made between 1970 and 1985, two reached the price of €504,000 at Sotheby’s New York in November 2008 and €305,000 at Christie’s Paris in December 2008. More recently, during two days of auctions in New York (Sotheby's), the small “Arbration” was sold for €215,751 and the massive piece, “Clochepoche” for €699,457 (November 11, 2009).
The ”Hostages” series, produced between 1943 and 1945, made from high quality pastes on an undetermined plastic background, assured the fame of Fautrier (1898-1964) at a time when informal tendencies began to appear in his work, and he claimed to be the originator of the process of applying paint in a raised pattern (over Dubuffet). Though such works are a rarity on the market, the more thematic still-lifes are the least recognized works within his “picturesque” pieces, which are most properly described as “shapeless”, and perhaps not even figurative, and which have sold for €120,000 and €145,000 at Christie’s, Paris and Sotheby’s, Paris in May of 2009. Of the fourteen sketches and watercolors put up for auction on November 3 at Artcurial (Paris), eleven were sold, all above their estimated value which was placed between 800 and 2,000 Euros. The bronze sculptures were appraised at approximately 10,000 – 20,000 Euros, with, as a reminder, a record brought in by the little pewter head, produced in the Hostages series which sold for 150,000 Euros at Artcurial (Paris) in December of 2005.

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Everyone can go to the Museum of Everything but not everything can go into museums’ collections

The collection of this new museum makes one wonder if it is easy to collect art when the collector is an institution, such as a museum. Surely not!

Under French law, Decree n°93-124 of 29 January, 1993 relative to cultural property governed by certain circulation restrictions, a collection of art is an ensemble of objects, works, documents for which the elements cannot be dissociated without violating its coherence and for which the value of the whole is greater than the sum of its individual parts. To be so, the ensemble must also offer an interest with respect to art, history, art history, civilizations or sciences and technologies.

By nature, Private collections tend to be integrated into public museum collections. The interest being that once incorporated is that the elements of the collection become inalienable, enduring and are struck with a prohibition to leave the French territory. The interest for the private individual who gives title to the public buyer, other than the satisfaction of having given to the public interest, is either the tax benefit (considering that the acquisition precedes a simple purchase, a preemption, a dispossession for the benefit of the State, a gift, or satisfaction of payment...) or the guarantee to offer the works good conservation.



GIACOMETTI: AT THE MUSEUM, AT AUCTION AND BEFORE THE SUPREME COURT

Joyeuses Fêtes artistiques !

IMPRESSIONS DE FIN D'ANNEE

SPECIAL JAPON

LA PHOTOGRAPHIE EN LIGNE DE MIRE

DES EXPERIENCES VIRTUELLES MAIS DES VENTES BIEN REELLES

LUCIAN FREUD OU L'INCONSCIENT DE LA CHAIR

MATISSE/RODIN DEUX GENIES AUX MULTIPLES TALENTS

MONUMENTAL BOLTANSKI

JENNY HOLZER : LIGHT AND DARKNESS

GENTLY DISCOVERING ART BRUT

FROM RIO TO PARIS, JR'S PARTICIPATIVE ART