What is the role of an art fair in discussions about racial justice? That question will be explored this week at Frieze New York, the first major fair to take place in person in the United States since the March 2020 lockdown. For this edition, which runs May 5–9 at the Shed, Frieze New York will pay tribute to the Vision & Justice Project, an expansive educational initiative led by Harvard University professor Sarah Lewis that examines ways that art—in particular photography—can inform notions about race. Talks, film screenings, and fundraisers for nonprofits will honor Lewis and Vision & Justice.
A tiny sketch of a bear by Leonardo da Vinci is expected to sell for over $16 million at auction. The item is one of only eight Leonardo drawings left in private hands, according Christie's, the auction house organizing the sale. Measuring less than 8 square inches, the drawing was made on pale pink-beige paper using silverpoint -- a technique, taught to Leonardo by his master Andrea del Verrocchio, that involves marking chemically treated paper with silver rods or wire.
Ever since a computer file made by the digital artist known as Beeple sold at auction in March for $69 million, observers of the art world have been fascinated and bewildered by the astronomical spike in prices for this type of work — so-called NFT-based art. These are digital creations that, because they are otherwise easily susceptible to being copied and reproduced, are sold as unique assets in the form of nonfungible tokens, or NFTs, which use blockchain technology to certify authenticity and proof of ownership. (Beeple’s piece was a collage of images that he had posted online every day since 2007.)
PEOPLE WERE SOCIAL distancing from art long before the pandemic started. At a museum, it’s customary to stand a respectful sixish feet away from any piece, a space maintained by security sensors or fear of the wrath of mistrustful guards. Now, with Covid-19 necessitating even more restrictions on indoor spaces, art lovers often find themselves observing from an even greater distance: via screen.
"Olivier Bertrand was born in Marseille in 1975, to a French father and an Asian mother. He became fascinated with drawing, visual arts and, more specifically, origami at a very early age. “As far back as I can remember, I’ve always been captivated by the metamorphosis of a simple sheet of paper which, with a few smart folds, comes to life and sparks emotion.” After graduating with a Master’s in Economics and completing his studies, he finally chose to move into web design. 15 years on, he took advantage of a period of convalescence to go back to roots, to his first love. Although this time round he’s not folding pieces of paper, his mantra remains the same: and it’s cardboard that he works with a new twist. By assembling bits of cardboard together, he now creates extraordinarily amazing life-sized animals. “Cardboard offers a host of advantages; it’s ever so easy to get hold of and it’s a light material which is perfectly workable for large-scale subjects… I really love the idea of creating using an everyday product, one which people throw out, get rid of, and of striving to make it desirable. By sculpting cardboard animals, I really feel as if I’m totally in tune with my favorite topic, i.e. the environment. I enjoy choosing animals that radiate considerable power, rather contradictory actually at first glance given the fragility of the cardboard I use. Through this duality harmonizing the subject and its material, I try, in my own way, to sound the alarm bell as to the precariousness of animal species.”
Rocart is seeking to receive on consignment secondary market Fine Art works of all media. We are pleased to offer an appraisal to collectors who are considering selling their artworks with our gallery.
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