André Leon Talley’s Estate Heads to Auction, and More: Morning Links for January 17, 2023

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The Headlines

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GIANFRANCO BARUCHELLO, a revered artist’s artist whose intellectually incisive work took on a vast array of mediums, died Saturday at the age of 98, according to reports in the Italian press. Baruchello moved in heady avant-garde circles in the 1960s, where he became acquainted with figures like John Cage and Marcel Duchamp, who was an enduring inspiration for him. He made drawings with intricate symbols and diagrams, mailed art direct to buyers, and assembled a famed 1964 film Verifica incerta, with director Alberto Grifi, using “cast-off 1950s-Hollywood celluloid,” Artforum notes in its thorough obituary. He also ran a farm outside of Rome’s city center as a kind of art project. In a statement, the Massimo De Carlo gallery, which represented the artist, said, “The breadth and generosity of his all-encompassing life spanning career remain as a precious, timeless testament to the greatness of his heart.”   

THERE MUST BE SOMETHING IN THE AIR, because it is a glorious day for artist profiles! The piquant painter Tala Madani got the Calvin Tomkins treatment in the New Yorker. All-American surrealist Jim Shaw, who has a show up at Gagosian in Los Angeles, is in the Hollywood Reporter. The soundsuit legend Nick Cave (his traveling survey is now at the Guggenheim ) is in the New York Times. The relentlessly inventive sculptor Ser Serpas is also in the Times, timed to her upcoming Swiss Institute outing. Korakrit Arunanondchai, whose debut with Kukje gallery is up now in Seoul, is in Tatler . And last but not least, John Maclean—the film director and former Beta Band member—is in the Guardian, talking about his budding painting career. His first exhibition was last year, at White Columns in New York; now he has one at the Approach in London. “It went from zero to a lot very quickly,” Maclean said.

The Digest

Federal prosectors have charged a former payroll manager for the Art Institute of Chicago with stealing more than $2 million over 13 years. The former employee, who was fired by the museum after it said it found evidence of the alleged thefts, has not commented. [Chicago Sun-Times]

Textile designer Ruth Adler Schnee, who opened a storied home furnishings store in Detroit with her husband in the 1940s that specialized in adventurous modernist products, has died at 99. “Everyone thought we were crazy,” she once said. “Nobody wanted this crazy stuff.” [The New York Times]

Edvard Munch‘s Dance on the Beach—which was commissioned for a Berlin theater in 1906, hung in first class on a ship in 1939, and was then hidden in a Norwegian forest amid the war—will be offered at Sotheby’s in London with a high estimate of £20 million (about $24.4 million). [The Guardian]

After five years of renovation work, the Mardigian Museum has reopened in Jerusalem, where it presents centuries of Armenian art, culture, and history, and serves as a memorial to the victims of the Armenian genocide. [The Associated Press/Bloomberg]

Adam McEwen’s soon-to-open show at Gagosian in London will include new pieces in his series of obituaries of people who are still alive, including Formula One racer Lewis Hamilton, climate protester Greta Thunberg, and singer-songwriter and philanthropist Dolly Parton[Fad Magazine]

This week, Christie’s will begin exhibiting clothes, jewelry, art, and more that it will sell from the estate of the pioneering fashion editor André Leon Talley, including Andy Warhol prints and an Hermès bicycle. The proceeds will benefit two Black churches that were important to Talley, who died last year at 73. [The New York Times and Cultured]

The Kicker

CREATIVE DRIVE. In VoguePrada’s co-creative directors, Miuccia Prada and Raf Simons, shared a wide-ranging discussion that touched on Simons’s recent decision to shutter his own label, fashion’s relationship with art, and their shared philosophy. “We like very much the idea that the final garment is going to sit on a person,” Simons said at one point, and then Prada came in. “Because that is the reality of our job,” she said. “What I really hate at this moment is fake creativity. Creativity for nothing. Creativity without a clue. Basically, useless stuff.” Words to live by. [Vogue]


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