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Wet Paint: West Coast Power Broker David Kordansky Expands to New York, Cryptopunks Buyers Revealed, & More Art-World Gossip
What consignor saw their Jonas Wood increase in value by 14,000 percent? What fair has a new Asia edition to reveal next week? Read on for answers.
May 14, 2021
At left, the facade of David Kordansky Gallery in the Los Angeles neighborhood of Mid-City; at right, Kordansky. (Both images courtesy Getty Images.)
Every week, Artnet News Pro brings you Wet Paint, a gossip column of original scoops reported and written by Nate Freeman. If you have a tip, email Nate at [email protected]
TINSELTOWN
Damien Hirst is considered a safe bet in a troubled art market Photo: Andrew Russeth
I am spending a lot more time at my desk these days. Sat with me at the moment is a copy of Gregor Muir’s rip-roaring 2009 memoir
Lucky Kunst: the Rise and Fall of Young British Art. On its cover, Tracey Emin and Damien Hirst exude Cool Britannia, not quite smiling out of a backdrop of Hirst-inspired spots. All are seemingly consigned to a 1990s London past.
The view from the 2020s is not so clear cut. Emin has pretty much become a national treasure with the dubious advantage of being too-long undervalued on the market. Neither can be said of Hirst, although he is certainly having something of a revival out of tougher times.
Welcome to impeachment week, in which we grow increasingly concerned about the fate of our fragile republic but also the aesthetics of Sen. Ted Cruz’s haircut. I’m
Carolina A. Miranda, arts and urban design columnist at the Los Angeles Times, here with your weekly dose of culture news and hamburger dispatches:
Artistic legacies
Shortly after abandoning her religious vows in 1968,
Corita Kent produced a series of 29 prints called “Heroes and Sheroes” that honored political and civil rights figures she admired. The prints mark a moment of departure, when Kent is increasingly appropriating images from mass media and, unshackled from the Catholic Church, her critiques of the powerful become more overt.
Financial strains exacerbated by pandemic-related impacts have left some museums across the U.S. struggling with the question of whether to deaccession artworks. In the early part of the coronavirus pandemic, when the economy tanked, the Association of Art Museum Directors (AAMD) relaxed rules around selling artwork from museums' collections. New guidelines stipulated that funds raised could be used for more than buying other artworks, without penalty, at least until April 2022. Since .