The Auction

Vincent Anthony Falkiewicz

Erica Gilbert-Levin  

The details and process of the sale of a Marlene Dumas painting to a "mysterious bidder" named Amy Cappellazzo at a New York art auction sheds light on several important elements of the culture and practices involved in the contemporary art auction. For example, the interactions among Cappellazzo, the other auction attendees, and auctioneer Burge are symptomatic of the psychological dynamics that ensue during an auction sale. The sale reflects the extent to which art auctioneering has become a "spectator sport" (Thornton, 5), its crass, "crude" commercialism thinly disguised by the "urbanity" and "gentility" proffered by the European auctioneers. Likewise, Cappellazzo appears aloof and "mysterious," seemingly nonchalant and cavalier about the reality that she just spent an untold fortune on a single painting, suggesting a certain sophistication, disinterest in economics, and concern with the pure aesthetic value of art. But she readily admits that she, like all involved in the auction process, follow "basic commercial benchmarks that have nothing to do with artistic merit" (Thornton, 24). Indeed, the "primary concern" for those involved in the auction process is "not the meaning of the artwork but its unique selling points" (Thornton, 8). And Cappellazzo recognizes such "selling points" in Dumas's piece. Despite her "posturing" as someone bidding "with style," commanding a "hushed respect from the audience by holding back and separating herself from the crowd, raising the dramatic effect of her "win," she cites features of the painting that are, as she notes, succinctly in line with what any other collector looks for: a certain color (red), a certain size (medium), an image of "a buxom female, and the capacity of the piece to "make people feel happy" (Thornton, 24). She draws respect from the crowd not because she can recognize distinct or unique art work when she sees it and pay what it is worth, but because she can acquire the same thing everyone else looks for but at a crowd-awingly high price and with an attitude that suggests that that price means nothing to her. Her act as a collector is part and parcel of the larger spectacle of today's art auction: A lot of "posturing," a lot of theater, a drive to win, a drive for status, and an ability to engage in a psychological test of wills.
Marlene Dumas's Jule-die Vrou, 1985

Kimberly Ann Phoenix  

At the latest Christie's Post-War and Contemporary Art Evening Sale 61 lots sold for a total of $301,663,000.  Among the lots were 43 painting, 13 sculptures, 3 photographs and 2 drawings & watercolors representing Andy Warhol, Jean-Michel Basquiat, Jeff Koons, and Sam Francis to name only a few.  After scanning the list, Sam Francis's reef a predominantly blue painting jumped out of the list. Like the suggestion in the reading the litmus test is alive and well, bright colors attacked interest. (Thornton 24)  Each of the lots is accompanied by an audio description along with a written narrative as well. Other information provided is lot description which gives the artist name, name of the painting, medium used, size, and when the painting was done.  The list of who has owned the work of art is also displayed.  This particular painting was first owned by the Martha Jackson Gallery in New York.  This gallery was started in 1952 and closed in 1969, 1969 was the first time this painting changed hands.  The Martha Jackson Gallery was run by Jackson who was credited with being a shrewd business woman and committed to her artist; working to promote and educate people about the art and artist.  Reef   was then purchased by Mr. and Mrs. Robert Miller form there it was acquired by Galerie Beyeler.  At some point the painting was acquired by a private collector from Japan, the interesting thing is that Reef was purchased again by the Galerie Beyeler.  This is similar to David Nahmad buying back something the family owner before (Thorton 22), there is no way for find out why the gallery did this but it could have been to protect the value of their other holdings. In the end this painting sold for 3,666,500 including buyer premium.      

http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&intObjectID=5437827&sid=078a642e-111c-4b8f-9356-e34fb2106de7

http://www.ubartgalleries.org/?gallery=anderson&select=page&page=martha_jackson_archives