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
Saturn Angel (2020). Courtesy of the artist and Vito Schnabel Gallery.
What’s more, the Mugrabi family, collectors with an unimpeachable star-making pedigree, began shoveling Navas into their collection, a dog whistle to fellow market players that now is the time to buy.
Over the past few months, when I told curators, dealers, and critics that I was profiling Robert Nava, many wanted to know why. In their minds, other artists, ones who did not make crude renditions of Power Rangers, were far more worthy of attention. One advisor said they would never sell that “trash” to their clients. Another said unprintable things about the people who were buying Nava’s paintings.
January 27, 2021
Join Next City for the first of two virtual conversations in our series, “The Future of Monumentality,” as we examine the past, present, and future of public monuments from the unique intersection of art, design, and urbanism. The speaker series, moderated by New York Times critic Salamishah Tillet, is co-presented in partnership with the High Line.
In 2020 communities around the world protested the institutional racism of police violence toward Black, Latinx, and Indigenous people the same people who have experienced disproportionately devastating health effects and economic hardship during the COVID-19 pandemic. Among the most powerful symbols engaged by these protests has been the removal and defacing of monuments, as well as their use as focal points and backdrops for rallies, speeches, performances, and collections of protest signs. And as the disturbing insurrection in Washington, D.C., has shown, white supremacists continue to wield and deface monuments