Observations on Art 10.18

Yes I know, yet another art heist post. The whole affair just intrigues me so I was reading what I could find about it and came across something I wanted to share. it's an opinion piece from The National which is the English publication of the Abu Dhabi Media Group. I know, now you are wondering what the hell I am doing reading a newspaper from the Emirates and I'll get to that after the opinion. I wanted to share this in its entirety because it says a lot of what I was trying to say and maybe says it better.

Painted Into A Corner
National Editorial
Oct 18, 2012

"Art heists capture the imagination like few other crimes do. Is there some secret cabal of art aficionados willing to pay millions for stolen masterpieces? It might make a good movie, but in real life, probably not. In fact, the thieves who lifted seven works, including paintings by Picasso, Gauguin, Monet and Matisse, from the Kunsthal museum in Rotterdam this week may well have been amateurs who knew their supposed value - in the tens of millions of dollars - but had no understanding of the art market.

While it's possible the paintings were stolen to order, either to pay off a debt or to satisfy somebody's personal whim, FBI art crime team founder Robert Wittman told The Atlantic magazine that even black-market buyers wouldn't touch such high-profile stolen goods - because their value resides to a great extent in ownership of legal title. If the works are offered for sale, the "buyer" could well be an undercover cop. More likely, Wittman says, they will sit in storage, for years or even decades, and will eventually be recovered. Or possibly destroyed.

This will be cold comfort to the Triton Foundation, which owns the paintings, but it will illustrate the chestnut that crime doesn't pay."

And why was I reading The National today? Because the United Arab Emirates, including Abu Dhabi and Dubai, probably have one of the largest concentrations of mega art collectors in the world. In the next few years branches of both the Guggenheim and the Louvre will open in Abu Dhabi and I wouldn't be at all surprised to see a Gagosian Gallery spring up somewhere in the region. Last November Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani, the daughter of the Emir of Qatar and head of the Qatar Museum Board, was named the most powerful person in the art world by Art & Auction magazine. At about the same time that same board paid $250 million for Paul Cézanne's The Card Players from a group that included a secret partner rumored to be, that is correct, Larry Gagosian. So maybe now you can see why I check The National art section from time to time.

As for crime not paying, I'm not so sure I agree with that line in this situation. Personally I think there is more 'commissioned' art theft than anybody in the market wants to admit. There is just too damn much money involved for there not to be.

Observations on Art 10.16

Claude Monet, Waterloo Bridge

I don't think I have ever written about an art heist before but last night's was a major topic of conversation today. I want to say from the start that, contrary to a twitter rumor spreading from Sweden, I had nothing to do with it. Around 3 AM thieves broke into Rotterdam's Kunsthal Museum and made off with seven paintings worth in excess of $100 million. They entered through the back of the museum, swiped the paintings, and were gone when police arrived just five minutes after the alarm sounded. This was one of the topics discussed, the growing trend of museums using just electronic security. It may save money but in the long run it just isn't enough as last night proved.

The Kunsthal may have state of the art electronic surveillance and alarms but it has no "down time" security officers. In contrast over half of The Louvre's staff of 2,000 are security related and the Museum of Modern Art just completed a huge security upgrade in anticipation of showing Edward Munch's The Scream beginning next week.
The Scream was sold in May for $120 million. Granted these two museums are in a league all their own but is one guard too much to ask?

Whatever the case the thieves had exceptionally good taste. The haul was made up of Picasso's Harlequin Head (1971), Monet's Waterloo Bridge and Charing Cross Bridge (both 1901), Matisse's Reading Girl in White and Yellow (1919), Paul Gauguin's Girl in Front of Open Window (1898), Meyer de Haan's Self-Portrait (1890), and Lucian Freud's Woman with Eyes Closed (2002). I don't understand the final one but than I had nothing to do with it. The Kunsthal has no collection of its own, all the paintings were on loan from the collection of the Cordia family.

When I write about art I like to try and teach something and here is the lesson for any budding art thieves out there. As I said the seven paintings are worth over $100 million but that is an auction/insurance figure. As far as the current 'owners' of the works are concerned they are all but worthless unless they have some totally immoral collector already lined up. That is always a possibility but more in the realm of Hollywood than in the real art world. Also unlikely, but still possible, is that the thieves will try and ransom the paintings through the insurers. One thing is certain, they wont be turning up at a flea market.

If not recovered quickly the paintings may not be seen for generations if ever. Over twenty years ago 13 paintings, including two Rembrandts, at the time worth $500 million were stolen from the Isabella Stewart Gardner museum in Boston. The museum offered a reward of $5 million for the paintings safe return, as always worded so that the thieves themselves aren't eligible to collect. None have ever been recovered in what is still the largest art heist in history.

And no, I was only 10 years old at the time.

10/17 update - There is a good article in today's New York Times that includes this; "Marc Masurovsky, a historian and an expert on plundered art in Washington, noted the possibility that the theft was "a contract job," adding: "These works were picked out. Could it be they had been targeted well before the theft, and the exhibit was the opportunity to strike?"'

Observations from the Gallery 5.8

Yesterday Chloe and I had a chance to attend a show at the Gagosian Gallery in Chelsea. The show, ‘Claude Monet: Late Work’, is a stunning display of 27 Monets dating from 1904 till 1922. A few I had seen before but most I had not including several of his ‘Water Lilly’ paintings that I had never seen and instantly fell in love with. Monet painted over 200 of his 'Nympheas' in the later years of his life. Ill be lucky if i paint 200 of anything in my whole life! So if anybody happens to be in the area it’s worth a look. Maybe while you are there you could order me a copy of the show book, please? Save it for my birthday if you must.

"The instantaneity of Monet, far from being passive, requires an unusual power of generalization, of abstraction… Monet declares: here is nature, not as you or I habitually see it, but as you are able to see it, not in this or that particular effect but in others like it. The vision I propose to you is superior; my painting will change your reality." Michel Butor, 1962, from the show press release.

Last night also marked the opening of the new Richard Galpin installation, ‘Viewing Station’, at High Line Park. So i guess I am going to have to get up the High Line sometime too. This would be an awesome time of year to take some pics there.

'A new interactive public art exhibit that offers abstracted views of buildings and streetscapes adjacent to the High Line. Viewing Station invites park visitors to peek into a view finder that aligns with a screen cut with geometric shapes. The resulting view emphasizes neighboring buildings' texture and color.’ from the High Line blog.

And finally, just hours after the Times Square bomb scare, firefighters and the NYPD bomb squad rushed to a storefront on Broadway after getting calls from people who thought they saw a bomb inside the window. What they found was an art display that included a fog machine, a fake time bomb and vials of liquid, turned out to be perfume, that looked like pipe bombs. The piece was created by artist Lisa Kirk, and the perfume is called 'Revolution,' which is meant to smell like smoke, gasoline, tear gas, and burnt rubber. Yummy, I can't wait to get some of that and go out dancing.

Think people, Think!

tuneage, Green Day - Last Of The American Girls