The commercially friendly artist Lorenzo Quinn has already scored a win ahead of this year’s Fifa World Cup in Qatar. Quinn, who shot to popularity with his heavily shared sculpture of huge hands rising from the water during the 2017 Venice Biennale, has been commissioned by tournament sponsor Hyundai to make a sculpture for Al Bidda Park, the site of the fan zone and festival, where matches will be screened live from November 20. Full details of Quinn’s work are under wraps but a representative confirms that the artist plans an 18-metre-wide and 8-metre-high sculpture made out of recycled stainless-steel mesh. The hands will be back for “The Greatest Goal” — this time with goalposts for arms.
The £2mn deal has been struck through MTArt Agency, which acts for visual artists in the mould of talent representation for sports and showbiz stars. Such intermediaries are a growing presence in the art market, meeting needs outside of the traditional gallery system. “It’s a different level when you are talking about negotiating things like advertising rights, global logistics across manufacturers and bulletproof business-to-business contracts,” says Marine Tanguy, founder of MTArt Agency.
She confirms that her company has been certified as a B Corp, with a validated commitment to social and environmental sustainability, “which is meaningful in the context of Qatar”, Tanguy says. The work, to be unveiled just ahead of the tournament, will be Quinn’s largest freestanding sculpture to date.
The seasoned Miami-based collector Ella Fontanals-Cisneros has been bitten by the non-fungible token (NFT) bug. She plans to release 44 works from her collection of more than 26,000 pieces of Latin American contemporary art as the images on a new collectible set of tarot cards. Digital works in the NFTarot collection will be priced on the LiveArt platform between $500 and $3,000, a spokesperson says. Proceeds will be split between the artists and the Cisneros Fontanals Art Foundation (CIFO), which commissions work and offers grants. The first two artists to show are the Cuba-born Glenda León and Gustavo Pérez Monzón. Seven works by each will be released on October 6.
Fontanals-Cisneros says that her mind turned to digital solutions during the pandemic, when the foundation could not host exhibitions. Soon after, she says, “NFTs became popular, but they are just certificates, so we wanted to think of some sort of a game to introduce a younger generation to the idea of collecting.” The philanthropist has run businesses in the telecoms sector and has long been open to technological solutions; this year, CIFO also launched its Ars Electronica awards of up to $30,000 for new-media artists.
Art experts were quick to notice Canaletto’s 1744 view of Venice as the backdrop to the accession of the UK’s new monarch, King Charles III, in London’s St James’s Palace last weekend. By chance, just up the road at Christie’s, another version of the same view by Canaletto is on show as the star lot from the prestigious Ann & Gordon Getty collection.
The Christie’s Canaletto, also an eastern view of the Grand Canal with Santa Maria della Salute and the Customs House, is dated later than the Royal Collection painting (probably 1749, the auction house says) and is estimated between $6mn and $10mn for the October 20 sale in New York. The work is on show at Christie’s London, alongside other paintings, textiles and furniture from the Gettys’ Pacific Heights home, until Sunday.
Lynne Drexler (1928-99), a second-generation American abstract painter, began to attract market attention this year when Christie’s made her auction record of $1.2mn for a 1962 painting sold by the Farnsworth Art Museum in Maine. The work had been estimated at $40,000-$60,000, already a toppy level for a painter whose work had not sold publicly for more than $10,000 before 2020, according to Artnet.
Now two New York galleries are collaborating on a show to cement Drexler’s re-emergence. Berry Campbell, which began representing the estate this year, has joined forces with the big-league Mnuchin Gallery to show 10 years of Drexler’s early work. The Upper East Side’s Mnuchin Gallery will show works from 1959 to 1964, while Berry Campbell in Chelsea takes the following five years.
Drexler was taught by Robert Motherwell and produced dense, colourful paintings during what the galleries are calling her “first decade”. Married to a then more acknowledged artist, John Hultberg, and latterly reclusive, Drexler’s relative obscurity was the same old story, says Sukanya Rajaratnam, partner at Mnuchin. “It’s hard to imagine that Lee Krasner [married to Jackson Pollock] was overlooked for so long, but she was,” Rajaratnam says. Drexler “holds her own, and not only among female artists”. Both exhibitions run from October 27 to December 17 with works priced between $500,000 and $2.5mn.
After a sellout solo exhibition of work by Hedda Sterne in 2020, London’s Victoria Miro gallery now represents the estate of the New York School artist, alongside Van Doren Waxter in the US. Sterne (1910-2011) was born Hedwig Lindenberg to Jewish parents in Bucharest and fled to New York when the Nazis occupied the Romanian city in 1941. A favourite of the gallerists Peggy Guggenheim and Betty Parsons, Sterne deliberately defied categorisation and is quoted in a 1979 book saying, “I believe . . . that isms and other classifications are misleading and diminishing.”
In November, Miro will open a show of Sterne’s work from the 1960s and 1970s in her gallery in Venice, where the artist lived and worked as a Fulbright fellow. The paintings will include Sterne’s so-called “Lettuce” works from 1967, for which thinned acrylic was left to form its own shapes on raw canvas, resulting in forms the artist likened to the salad leaves. “They are very intriguing, beautiful and organic,” Miro says. Works including about five paintings and 16 on paper, will be priced between $15,000 and $300,000 (November 5-December 10).
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Artist Lorenzo Quinn scores with World Cup commission - Financial Times
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