
Banksy's Artwork Set for Auction on March 4
A painting by the renowned artist Banksy is set to be auctioned in London on March 4, with an estimated price of around $6 million.
Sotheby's auction house announced that the artwork, titled Crude Oil (Vettriano) is part of the collection of Mark Hoppus, co-founder of the band Blink-182, and his wife, who purchased it in 2011.
The painting will first be displayed at Sotheby's New York headquarters from February 18 to 20 before being moved to London, where it will be exhibited from February 26 to March 4.
The artwork is a reimagined version of The Singing Butler (1992) by Scottish artist Jack Vettriano, which originally depicts a couple dancing on a windswept beach, accompanied by a maid and a butler holding umbrellas. In Banksy's version, however, the maid is replaced by two men in hazmat suits carrying containers of toxic waste, reinforcing his signature social critique.
The proceeds from the auction will be donated to two medical charities in Los Angeles and the California Fire Foundation, in response to the recent wildfires that have devastated the region.
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CairoScene
24-04-2025
- CairoScene
Styled Archives: Magda Saleh - Cairo's Original It-Girl on Pointe
Magda Saleh's life reads like a three-act ballet: Soviet precision, Egyptian stagecraft, and New York perspective. Egypt's first prima ballerina, she shaped the country's dance landscape with discipline, intent, and a clear sense of cultural purpose. Born in 1944 to an Egyptian agronomist and a Scottish mother, Saleh trained at the Bolshoi in Moscow, returning to Cairo in the 1960s. Her breakout role as Maria in The Fountain of Bakhchisarai (1966) became a touchstone but her influence extended far beyond the proscenium. She danced in Aswan for dam workers, brought ballet to public schools, and approached performance as education and access, not just spectacle. When the Khedivial Opera House burned down in 1971, Saleh moved to UCLA, where she began documenting Egypt's folk traditions. Her film Egypt Dances (1979) remains a cultural record. Later, as dean of Cairo's ballet school and director of the new opera house, she pushed for more local narratives, often in tension with official expectations. In New York, she became a mentor and cultural voice - lecturing, curating, and staying deeply connected to Egypt's artistic diaspora. Magda Saleh backstage at the Old Cairo Opera House, 1959. Captured after the Ballet School's inaugural 'Class Concert,' where she was awarded the evening's sole solo by founder and teacher Professor Alexei Jukov This photograph captures the pared-down purity of mid-20th-century stage costuming. Saleh wears a classic romantic tutu - softly structured bodice, short, layered skirt, and delicate straps - in what appears to be a monochrome palette, likely white or pastel. The simplicity of the outfit highlights the fragility and ethereal poise of her pose, with the absence of excess ornamentation allowing the line of the body to speak for itself. It's balletic minimalism with lyrical intent. Act I: The Bolshoi Butterfly Trained under Stalin-era taskmasters, Saleh mastered the icy perfection of Russian ballet - only to return to 1960s Cairo as a Soviet-Egyptian hybrid. Her Maria in The Fountain of Bakhchisarai (1966) wasn't just a Polish princess; it was a metaphor for Nasser's postcolonial Egypt: delicate, defiant, and caught between empires. Critics swooned, but Saleh swapped galas for gravelly stages in Aswan, performing for dam workers who'd never seen a pirouette… A Photograph from the 1960s In this photo Magda leans into pastoral romanticism. She wears a soft, puff-sleeved bodice with a rounded neckline, the kind that feels wistful and storybook-like. The full tulle skirt flows gently to just below the knee, trimmed with graceful, undulating lines of ribbon that echo the delicate nature of her character. Magda Saleh in a studio portrait as Giselle (Act II), captured by Studio Alban on Kasr El Nil Street, Cairo, 1968. This evocative photograph captures Egyptian prima ballerina Magda Saleh in the title role of Giselle, embodying the ethereal grace of Romantic ballet. Her costume, a traditional white tutu of soft, floating tulle, is paired with a delicate floral crown - a circlet of small white blossoms that rests gently atop her dark, swept-back hair. This headpiece, emblematic of the willis in Giselle, symbolises purity, sorrow, and the otherworldly nature of the character. Act II: The Phoenix of the Opera House When Cairo's Khedivial Opera House burned in 1971, it incinerated her stage but not her spirit. Saleh fled to UCLA, traded tutus for thesis papers, and unearthed Egypt's folk dances - tanoura spins, Saidi stomps - in her documentary Egypt Dances (1979). Returning as dean of Cairo's ballet school, she clashed with ministers who wanted tutus, not Tahrir Square grit. Tasked with directing the new Japanese-funded opera house in 1987, she fought for Fellini-esque lighting and fellahin choirs - only to be ousted for 'prioritising peasants over Puccini.' Magda Saleh with the Cairo Ballet Company, 1970 This dynamic image captures Saleh mid-leap in full performance, wearing a structured tutu with a cinched bodice, likely in a romantic or classical role. The sharp lines of her arabesque contrast beautifully with the soft curve of the skirt, frozen in flight. The costume, while decorative with hints of ruffle and ribbon, remains designed for movement - a perfect harmony of form and function. Magda Saleh as Kitri in 'Don Quixote' Moscow, 1971 Magda's ensemble is classic character-ballet costuming with folkloric flair. She wears a mid-length tutu dress with a structured, corset-like bodice, cinched tightly at the waist, and adorned with delicate lace trimming along the neckline and hem. The skirt's layers of soft tulle billow out in an airy bell shape, edged with alternating bands of ribbon for a touch of rustic vibrance. Act III: The Diaspora's Matriarch Exiled to New York in the '90s, Saleh became a curator of Egyptian soul. With her Egyptologist husband Jack Josephson, she turned Lincoln Center lectures into love letters to her homeland, pairing academic rigor with Bedouin embroidery shawls. To young Arab artists abroad, she was 'Tante Magda' - a chain-smoking sage in Issey Miyake pleats, dissecting Sufi whirling over Turkish coffee. Final Bow: The Legacy in Lace and Leather Saleh's style was a manifesto: Soviet-structured bun meets kohl-lined eyes glaring at gatekeepers. When she died at 79 in 2023, Cairo's ballet orphans mourned a woman who'd turned pliés into protests. Her true costume? Skin etched with Nile silt and Kremlin snow. Magda Saleh in 2018 A portrait steeped in quiet, bohemian elegance. Magda's look leans toward timeless artistic eccentricity - sleek, silver hair drawn back to reveal the drama of her statement jewellery: a beaded, multicolour choker paired with a chunky turquoise ring. The black ensemble acts as a canvas, letting the accessories radiate a kind of worldly, slightly folkloric glamour. 'Dancing in the Light: An Egyptian Ballerina Story,' exhibition in AUC, 2019 In this photograph, Saleh wears a softly draped grey knit top that pairs ease with refinement. A cowl neckline frames a bold turquoise pendant, the focal point of an otherwise understated look. Her earrings mirror the pendant's blue-green tones, creating a balanced palette. A folded burgundy shawl adds warmth and depth to the ensemble. With silver hair swept back and minimal makeup, she embodies quiet elegance - poised, grounded, and visually in dialogue with the archival photographs surrounding her.


CairoScene
15-03-2025
- CairoScene
Tamara Qaddoumi Explores Loss & Identity in Her New SIngle ‘The Murmur
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Al-Ahram Weekly
24-02-2025
- Al-Ahram Weekly
Christie's first-ever AI sale angers some artists - Visual Art - Arts & Culture
Christie's has launched its first-ever sale dedicated to artworks created with artificial intelligence, riding the AI revolution wave -- a move by the famed auction house that has sparked anger among some artists. The sale, titled "Augmented Intelligence," features about 20 pieces and runs online until March 5. Christie's, like its competitor Sotheby's, has previously offered AI-created items but had never devoted an entire sale to this medium. "AI has become more prolific in everybody's daily lives," said Nicole Sales Giles, Christie's head of digital art sales. "More people understand the process and the technology behind AI and so are more readily able to appreciate AI also in creative fields," she said. The launch of ChatGPT in November 2022 transformed public perceptions of generative artificial intelligence and opened new possibilities for its widespread use. The market is now crowded with AI models that allow users to generate drawings, animated images or photo-realistic images through simple natural language requests. The use of algorithms in the art world, it turns out, is almost as old as modern computing itself. Christie's is offering a work by American artist Charles Csuri (1922-2022) dating from 1966. As a pioneer of computer art, he distinguished himself by using software to distort one of his hand-drawn sketches. "All artists in the fine art sense, and particularly the artists that were featured in this auction, use AI to supplement their existing practices," said Sales Giles. The collection includes paintings, sculptures, photographs and giant screens displaying entirely digital works. Among the sale's highlights is "Emerging Faces" (estimated to sell for up to $250,000) by American artist Pindar Van Arman, a series of nine paintings resulting from a "conversation" between two AI models. The first model paints a face on canvas while the second stops it when it recognizes a human form. - 'Controversy and criticism' - The sale has not been welcomed by all, and an online petition calling for its cancellation has gathered more than 6,300 signatures. Many of the submitted works "were created using AI models that are known to be trained on copyrighted work without a license," it says. The petition says the sale contributes to the "mass theft of human artists' work." Several artists filed lawsuits in 2023 against generative AI startups, including popular platforms Midjourney and Stability AI, accusing them of violating intellectual property laws. Digital art heavyweight Refik Anadol, who is participating in the event with his animated creation "Machine Hallucinations," defended the sale on X, saying the "majority of the artists in the project (are) specifically pushing and using their own datasets + their own models." Petition signatory and illustrator Reid Southern said that at a minimum, pieces should be excluded that don't use the artist's own software or data -- accounting for perhaps one-third of the sale, he said. "If these were oil paintings," he said, and there "was a strong likelihood that many of them were either counterfeit or forgeries or stolen or unethical in some way, I don't believe it would be ethical for Christie to continue the auction." Sales Giles responded: "I'm not a copyright lawyer, so I can't comment on the legality specifically. But the idea that artists have been looking at prior artists to influence their current work is not new. "Every new artistic movement generates controversy and criticism," she added. "Midjourney is trained on basically the entirety of the internet," said noted Turkish artist Sarp Kerem Yavuz, who used this software to create "Hayal," also being auctioned at Christie's. "There's so much information (out there) that you cannot infringe on individual copyright," he said. Southern, the illustrator, pushed back. "That's essentially arguing that it's bad to steal from one or two people, but it's okay to steal from millions of people, right?" he said. Short link: