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Tag: Art museums

  • Meet the art collectors with home galleries: ‘The stock market doesn’t give me any fulfillment’

    Meet the art collectors with home galleries: ‘The stock market doesn’t give me any fulfillment’

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    Entrepreneur Grant Cardone said collecting and displaying art gives him more fulfilment than investing.

    Grant Cardone

    Multimillionaire Grant Cardone, who has been collecting art for around 15 years, says he’s a spontaneous buyer.

    “I don’t consider myself a connoisseur. I’m very new to the art world. If I like it, I buy it. I don’t care who did it,” he told CNBC. Alongside pieces displayed throughout his home, Cardone also has an art gallery to house his considerable collection.

    CNBC spoke to Cardone by video call — behind him in his Miami home office was an untitled piece by American graffiti artist Retna that Cardone bought in an online auction.

    “I clicked the button — really hadn’t done any research … and got the piece … And it got here and I absolutely freaking loved it,” he said. He paid “maybe $140,000” for the work, he said.

    A piece called “It’s Now Time,” by the artist Fringe, seen in Grant Cardone’s home gallery.

    Grant Cardone

    Along a corridor in Cardone’s home are two pieces by American pop artist Burton Morris, both depicting red Coca-Cola bottles lined up in a repeating pattern named Coca-Cola 50A and Coca-Cola 50B. “This I bought from Tommy Hilfiger … it reminds me of the importance of scaling,” Cardone said — fashion designer Hilfiger is the home’s previous owner.

    Cardone, a real estate investor and author of “The 10 X Rule: The Only Difference Between Success and Failure,” has around 17 million followers on social media and uses his platforms to give occasional advice on art investing.

    “[Followers are] starting to see the art saying, hey, you know, [has] that been good for you? And I’m like, yeah, it’s good for me … It’s better than the dollar or the euro … The stock market doesn’t give me any fulfillment, I don’t go back and look at my Apple shares and feel good about it. But I walk in my gallery or down the kitchen or in my office and I see a piece and I’m like, man, it’s super cool.”

    The gallery in Grant Cardone’s Miami home. A print of a piece by Basquiat is seen bottom left.

    Grant Cardone

    Inside Cardone’s gallery — complete with floor-to-ceiling windows and a security guard — is a work by American contemporary artist Kenny Scharf titled “Blipsibshabshok” (1997), an abstract painting featuring colorful futuristic symbols. Cardone owns a second Scharf, “Controlopuss” (2018), a striking image of a red multi-legged creature, acquiring it for $279,400 from auction house Phillips.

    “This is a Basquiat right here. The original would be $45 million,” Cardone said, pointing to a print of a Jean-Michel Basquiat piece titled “Flexible” (1984/2016). The original was sold by auction house Phillips for $45.3 million in 2018. “This piece I bought with the house,” he said, gesturing to a work above the Basquiat titled “Read More” by American contemporary artist Al-Baseer Holly.

    Grant said he chooses pieces to buy on instinct. “I’ll try to walk away from it. And if I keep seeing it, or I keep thinking about it, then I go back and say, OK, I’m supposed to have this,” he said.

    “I plan on never selling any this stuff. It’s really for my personal enjoyment. And you know, art makes me happy,” he said.

    Female art in Florence

    Former investment banker Christian Levett has a different approach. He’s been collecting art for almost 30 years, starting with old master paintings and Roman, Greek and Egyptian antiquities before moving on to pieces by female abstract expressionists.

    Art collector Christian Levett conducts private tours of his home in Florence, Italy. His collection is largely made up of abstract expressionist works by female artists.

    Christian Levett

    Christian Levett has switched from collecting antiquities to work by female artists, seen here in his Florence home.

    Christian Levett

    “It’s now probably a $15 million to $18 million picture at auction … Mitchell has always been one of the most important female painters of the 20th century,” Levett said.

    He also spoke highly of an Elaine de Kooning oil painting of John F. Kennedy, commissioned as part of a series of portraits of the former U.S. president in 1963. Levett bought the artwork in 2020, paying around $600,000.

    Levett said he opens his home to students in part because doing so might spark an interest in supporting art in future. “The students … are the acorns of the art world,” he said.

    Work by female artists is Levett’s focus, and he is set to re-open his museum in France as the Female Artists Mougin Museum on June 21. He is currently selling the museum’s previous collection of art and antiquities via a series of sales at London auction house Christie’s, which have reached almost £9.5 million ($11.9 million) so far.

    Bunker art

    Christian and Karen Boros’ home is on top the bunker that houses their private art collection, the Boros Collection, in the center of Berlin, Germany.

    John Macdougall | AFP | Getty Images

    At a unique art space in Berlin, husband and wife Christian and Karen Boros live in a 6,000 square foot penthouse apartment above their private collection. The Boros Collection is housed in a former World War II bunker, a vast, high-rise building the couple acquired in 2003 and spent several years converting into a five-floor exhibition space, with their home on the sixth.

    The bunker sheltered up to 4,000 people during the war, after which it was used as a storage facility for tropical fruit before becoming a nightclub. According to Raoul Zoellner, director of the Boros Foundation, 450 tons of concrete ceilings and walls were removed during its conversion into an exhibition space and home.

    An artwork by Cyprien titled “Gaillard Lesser Koa Moorhen,” 2013, part of the Boros Collection.

    Boros Collection, Berlin | Noshe

    Christian, an advertising entrepreneur, bought his first artwork — a spade by German artist Joseph Beuys — when he was 18, he told the Financial Times.

    “The bunker is not a museum … but an exceptional project initiated by an enthusiastic collector couple who could not have imagined how many diamond saws it would take to tear down dozens of bunker walls — or what that would set in motion,” Zoellner said in an emailed statement.

    Karen and Christian Boros live in a penthouse apartment above their art collection in Berlin.

    Max von Gumpenberg

    Nearly 600,000 people have taken guided tours of the bunker since its conversion in 2008, with pieces from the Boros Collection shown on rotation, Zoellner added. At the moment, there are 114 works on view, with a “focus on the human body in a multiplicity of positions,” Zoellner said. “The works home in on the constant compulsion to optimize, the gradual adaptation of our bodies to technological devices,” he said.

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  • Review: A portrait of an artist in Venice-winning doc

    Review: A portrait of an artist in Venice-winning doc

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    Nan Goldin, the subject of Laura Poitras’ Venice Film Festival-winning documentary “ All the Beauty and the Bloodshed,” is a name you probably either know well or not at all. In the art world, she is unequivocally famous. Her photographs depicting downtown life in the late 1970s and ’80s and the vibrant, glamorous bohemians she encountered on the scene, like John Waters It-Girl Cookie Mueller, have been displayed at the Whitney, the Tate and MoMA.

    To look at any of the photos in her most well-known work, the ever-evolving slideshow “The Ballad of Sexual Dependency,” you can see how influential she was on generations to come with her raw, public-private snapshots of parties that didn’t end until dawn, beautiful “queens” and even her face, one month after a “dope-sick” boyfriend beat her so badly she almost lost her eye. The New York Times review of a collection of those photographs at the time said that “The Ballad” was to the 1980s what Robert Frank’s “The Americans” was to the 1950s. And it would become a devastating document of many of the young lives lost in the AIDS epidemic.

    This is only part of Goldin’s story, as you’ll learn in “ All the Beauty and the Bloodshed,” which begins its theatrical run this week in New York before expanding to more markets in the coming weeks. Poitras, the Oscar-winning filmmaker behind “ Citizenfour,” started filming Goldin to document her protest efforts against museums accepting money from the Sackler family. Their company, Purdue Pharma, developed and marketed the widely prescribed and widely abused painkiller OxyContin, the brand name for the opioid oxycodone. Opioids, which also include fentanyl, have been linked to more than 500,000 deaths in the U.S. over the past two decades.

    Goldin several years ago found herself addicted to opioids which she was prescribed for a surgery and took according to instructions. But, she said, she became addicted overnight. When she got out of treatment, she started reading about Purdue and the Sacklers, a name she associated with museums and philanthropy. Sackler-run foundations have given many millions of dollars to some of the world’s most prestigious museums and universities, from the Guggenheim to Oxford. And her mission became clear: To use her status in the art world to get museums to stop accepting money from the Sacklers, take down their name from galleries and to change how we think about addiction and treatment. And partially as a result of her efforts, many museums from the Louvre to the Met, have distanced themselves from the Sacklers.

    Poitras smartly saw that there was a very clear through-line from what Goldin did in the ’80s, when she came out of rehab and saw all her friends dying of AIDS, and what she was doing now. The documentary weaves together these threads to make a holistic portrait of an artist’s battle cry.

    Though the Sackler protests are the hook, the film’s strongest portions are its historical ones. Poitras artfully overlays Goldin’s heartbreaking eloquence with her photographs and a camera shutter soundtrack. Goldin speaks about everything from her stifling childhood in suburbia to the ripple effect of her older sister Barbara’s teenage institutionalization to her death by suicide at age 18 that left Nan, then Nancy Goldin, bouncing between foster homes. It wasn’t until she found a camera that she found her voice and her true family (her friends).

    There are some particularly devastating family realizations that Poitras and Goldin save for last. It’s trite to call that an origin story, but with Goldin, everything stemmed from those confusing days. She’d been told early on never to let the neighbors know about their troubles. Brushing it under the rug, not talking about it and not dealing with it would destroy them, though.

    Goldin might not have known it when she started photographing her LGBTQ friends, but her work has always been about looking at the so-called fringe cultures in society, about showing the problems that the masses would rather just ignore and making them so urgent that you can’t look away anymore. It is an act of hope in the idea that things could be better because the alternative, the silence, is infinitely worse. Goldin would know.

    As Goldin says at the start, “It’s easy to make your life into a story. But it’s harder to sustain real memories.”

    “The real memories are what affect me now,” she continued. “Even if you don’t actually unleash the memories, the effect is there, it’s in your body.”

    “All the Beauty and the Bloodshed,” a NEON release in limited release now, expanding on, has not been rated by the Motion Picture Association. Running time: 117 minutes. Three and a half stars out of four.

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    In a story published Nov. 25, 2022, reviewing “All the Beauty and the Bloodshed,” The Associated Press erroneously reported that OxyContin had been responsible for more than 500,000 overdose deaths in the U.S. That death toll is attributed generally to opioids, which include oxycodone and fentanyl.

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    Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.

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  • Climate protesters throw mashed potatoes at Monet painting

    Climate protesters throw mashed potatoes at Monet painting

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    BERLIN — Climate protesters threw mashed potatoes at a Claude Monet painting in a German museum to protest fossil fuel extraction on Sunday, but caused no damage to the artwork.

    Two activists from the group Last Generation, which has called on the German government to take drastic action to protect the climate and stop using fossil fuels, approached Monet’s “Les Meules” at Potsdam’s Barberini Museum and threw a thick substance over the painting and its gold frame.

    The group later confirmed via a post on Twitter that the mixture was mashed potatoes. The two activists, both wearing orange high-visibility vests, also glued themselves to the wall below the painting.

    “If it takes a painting – with #MashedPotatoes or #TomatoSoup thrown at it – to make society remember that the fossil fuel course is killing us all: Then we’ll give you #MashedPotatoes on a painting!” the group wrote on Twitter, along with a video of the incident.

    In total, four people were involved in the incident, according to German news agency dpa.

    The Barberini Museum said later Sunday that because the painting was enclosed in glass, the mashed potatoes didn’t cause any damage. The painting, part of Monet’s “Haystacks” series, is expected to be back on display on Wednesday.

    “While I understand the activists’ urgent concern in the face of the climate catastrophe, I am shocked by the means with which they are trying to lend weight to their demands,” museum director Ortrud Westheider said in a statement.

    Police told dpa they had responded to the incident, but further information about arrests or charges was not immediately available.

    The Monet painting is the latest artwork in a museum to be targeted by climate activists to draw attention to global warming.

    The British group Just Stop Oil threw tomato soup at Vincent van Gogh’s “Sunflowers” in London’s National Gallery earlier this month.

    Just Stop Oil activists also glued themselves to the frame of an early copy of Leonardo da Vinci’s “The Last Supper” at London’s Royal Academy of Arts, and to John Constable’s “The Hay Wain” in the National Gallery.

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    Follow AP’s coverage of climate issues and the environment at https://apnews.com/hub/climate-and-environment

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  • Ralph Lauren draws A-list Hollywood crowd for sumptuous show

    Ralph Lauren draws A-list Hollywood crowd for sumptuous show

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    SAN MARINO, Calif. (AP) — Bronx-born Ralph Lauren, a quintessential New Yorker, had never staged a runway show on the West Coast before. So clearly, with his first show in sunny California, he was going to go big — or, well, stay home.

    Big he went, staging a sumptuous display of his well-honed ethos of casual luxury, with strong Western accents like cowboy hats and boots, against a setting sun at the grand Huntington Library, Art Museum, and Botanical Gardens in San Marino, California, near Los Angeles.

    Rivaling his lavish 50th anniversary show in New York’s Central Park in 2018, Thursday’s extravaganza brought in a slew of movie stars — including newlyweds Jennifer Lopez and Ben Affleck — to watch more than 120 models strut the runway, including some adorable tots in Lauren’s childrenswear who had the fashionable crowd gasping with delight.

    “We’re in show business,” the 83-year-old designer said simply in a post-show interview, standing next to the endlessly long, candlelit tables where guests dined post-show on Polo Bar burgers, grilled branzino and other specialties from his restaurant in New York.

    Lauren explained that early on, he had felt LA wasn’t his style, but that changed and he finally decided, “OK let’s do something in LA, but let’s do it great.”

    Always a celebrity magnet, Lauren brought out a slice of A-list Hollywood with Lopez and Affleck, Ashton Kutcher and Mila Kunis, Sylvester Stallone, John Legend, Diane Keaton, Jessica Chastain, Laura Dern, Chris Pine and James Marsden, to name a few.

    The intimate affair for some 200 people began with cocktails and hors d’oeuvres like tuna tartare on a patio overlooking the lush lawns and gardens of the Huntington, which once housed Gilded Age tycoon Henry Huntington. Celebrity guests mingled along with TikTok influencers and Lauren customers.

    As the sun sank lower, guests were summoned to the tiled entrance of the museum, where models strutted to a soundtrack of California-themed songs like “California Dreamin.”

    There were plenty of cowboy hats, worn-in jeans and boots to begin with, gradually morphing into fancier wear like long, bright skirts and slinky cut-out gowns for the women.

    A gasp traveled through the crowd as two small children appeared, each holding one hand of their accompanying adult, dressed in classic Lauren looks of tweed jackets, sweater vests, pinstriped button-downs and white shorts.

    More children followed, including a little boy in bright green trousers who stole the moment by insisting on high-fiving everyone he passed.

    The show, which featured designs from several Ralph Lauren lines including menswear and childrenswear, finished with the models all returning to gather on the patio, joined by Lauren as he emerged to cheers.

    Over dinner, Kushton and Kunis chatted with Legend, who said in an interview before the show that Lauren is “obviously an icon in the fashion business and has meant so much to style for such a long time.”

    Lopez noted that Lauren had dressed her and Affleck for their recent nuptials. “Ralph did our wedding, so we’ve become quite close,” the pop star said. ”And we really love his aesthetic.”

    And singer Maggie Rogers noted she had grown up as a fan of the brand. “I have been watching them for the last couple of years and to me they represent such a timeless American style, and I always try and bring that … classic thing to my music,” she said. “So it feels like the perfect match.”

    The show’s soundtrack ended with a song that seemed to acknowledge Lauren’s divided feelings, geographically speaking. “Well I’m New York City born and raised,” went the Neil Diamond song “I Am … I Said,” “but nowadays I’m lost between two shores. L.A.’s fine, but it ain’t home. New York’s home but it ain’t mine no more.”

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    Associated Press journalist Krysta Fauria contributed to this report.

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