Latest news with #Jean-MichelBasquiat
Indian Express
15-05-2025
- Entertainment
- Indian Express
At $13.6 million, new record for the most expensive living woman artist
Depicting a blonde woman, nude from the waist down, except for a pink sock on one foot, the 1997 oil on canvas Miss January, by South Africa-born Netherlands-based artist Marlene Dumas, has become the most expensive work sold by a living woman artist at an auction — selling for $13.6 million (with premium) at a Christie's sale on Wednesday evening in New York. It had been estimated at $12 million to $18 million. Garnering total sale of $96.5 million, the top lot at the '21st Century Evening Sale' was Baby Boom, a 1982 triple portrait by Jean-Michel Basquiat, which sold for $23.4 million. New records were set for four other artists at the sale. Isabella Lauria, Head of the 21st Century Evening Sale, said in a release, 'We were thrilled with the outcome of our sale this evening. We met the market's demand for quality works of great provenance, beginning with the group brilliantly selected by Tiqui Atencio and Ago Demirdjian, who stand among the most important collectors of contemporary art today. We were privileged to offer an array of best-in-class examples by women around the world, and were proud to establish new records for Simone Leigh, Emma McIntyre, and a benchmark price for a living female artist with Miss January by Marlene Dumas selling for an incredible $13.6 million.' Born in 1953 in Cape Town, South Africa, Dumas is one of the most well-regarded painters at present. Known for her figurative depictions, she often refers to archival material and mass media sources for her portrayals and research. The record for a living woman artist at auction was previously held by Jenny Saville, whose painting 'Propped' (1992) sold at a Sotheby's sale in London in 2018 for $12.4 million. In India, the record is held by Amrita Sher-Gil whose canvas The Story Teller, sold for ₹61.8 crore (approximately $7.45 million) at a Saffronart auction in 2023.
Yahoo
12-05-2025
- Entertainment
- Yahoo
Tilda Swinton, Zoë Kravitz Feature in Dom Pérignon's ‘Creation Is an Eternal Journey' Campaign
POPPING BOTTLES: Dom Pérignon is calling on all the stars for its next campaign, titled 'Creation is an eternal journey.' The campaign features Tilda Swinton, Zoë Kravitz, Anderson .Paak, Iggy Pop and Takashi Murakami, as well as Swedish dancer and choreographer Alexander Ekman and northern Irish chef Clare Smyth. More from WWD Chase Stokes Partners With Zunnies by Zenni to Highlight Mental Health Awareness Todd Snyder Taps The National's Matt Berninger for Spring Campaign EXCLUSIVE: Patrick Dempsey Named Face of Tag Heuer Eyewear Each 'creator' as Dom Pérignon has dubbed the artists featured in the campaign were photographed by Collier Schorr in intimate moments with the Champagne, while director and writer Camille Summers-Valli filmed each of the stars with the bottle answering the question of 'what is creation?' For Swinton it's a 'a leap of faith. Creation, it's what makes the world go round. Beginner's mind, not knowing what you're doing, that's very important. Creation, it's like riding a good horse in a whole pack, you're not completely in control and it's such a relief.' 'I think if one's dreams are too fixed and precise, they are breakable. If you think of your dreams as being clouds, clouds can be a million different shapes, they never repeat. When I think of Dom Pérignon, I think of reinvention, changing all the time. I mean it changes all the time but it doesn't change. It's like a natural entity,' she added. While for Kravitz it's 'an offering. It's sacred,' and Pop sees creations as 'a release.' Musician Paak describes creation as 'the birds, the bees, trees, the leaves, the wind.' The Champagne brand owned by LVMH Moët Hennessy Louis Vuitton has been further strengthening its creative ties. The brand has collaborated with Andy Warhol, Jean-Michel Basquiat, Karl Lagerfeld, Jeff Koons, David Lynch and Lenny Kravitz in the past. Last year, Dom Pérignon worked with the Sarabande Foundation on 'A Night of Creative Assemblage.' The foundation's three artists: Electric Adam, Almudena Romero and fashion designer Paolo Carzana were tasked with creating their own art for a dinner held at the Winter Garden of The Roof Gardens in Kensington in London. Romero paid tribute to her grandparents' occupation, organic farming, with photographs on grass; Adam merged sculpture and performance displayed using latex, and Carzana created the tablescape for the night using hand-dyed cloth and monogrammed antique napkins for the guests. On colorful plinths made by Sarabande artist Adam, the brand showcased their special edition of Vintage 2015 in tribute to Jean-Michel Basquiat. Best of WWD Celebrities Wearing Zara: From Melania Trump's Controversial Coat to Kate Middleton's Blazer Collection [PHOTOS] The Stories Behind Audrey Hepburn's Wedding Dresses and What Happened to the Gown That Never Made It Down the Aisle La La Anthony's Style Through the Years: Met Gala Looks, MTV Days and More Photos
Forbes
01-05-2025
- Entertainment
- Forbes
Top Champagnes And Sparkling Wines For Celebrating Mother's Day
Always bring the bubbly to Mother's Day Cue the bubbly this Mother's Day because all moms want to drink something fabulous and Champagnes and sparkling wines have a unique ability to make any occasion feel special. You can make things even more precious with a bubbly that matches mom's personality—whether she's best paired with a classically stylish French Champagne or an elegantly cool Tasmanian sparkling, this list has a selection for every mom. Patz & Hall North Coast Brut Sparkling, CA: A crisp and zesty expression of 100% Chardonnay from cool climate vineyards. The palate is juicy with peach and lemon zest notes and the finish is tempered with a fine thread of toast from 9 months of aging on the lees. A balanced elegant California classic. $45 Kernel Sparkling, Carneros, CA: Made with Pinot Blanc grapes grown in the cool climate Carneros region of Sonoma, this is an utterly delicious sparkling wine. It's juicy and mouthwatering but also possesses a complex richly textured mousse rife with notes of ripe apple, citrus zest, and a buttery-nutty top note. Treveri Cellars Blanc de Noirs, Washington: Made with 100% Pinot Noir grown in Washington's Yakima Valley AVA. Fine threads of bubbles yield to a palate of bright strawberry, spice and citrus cream. Elegant and fresh, a value-driven bubbly with classic style. $20 Domaine Serene 'Evenstad Reserve' Dundee Hills Brut Rosé M.V. 3: Made from premium fruit cultivated in select parcels that a most conducive to sparkling wine production. Bright ripe strawberry notes give way to a layered and rich palate with notes of spice and creamy citrus. $105 (note, this is only available to club members but it's worth joining for this bubbly alone). Stoller Estate Brut Sparkling, NV: The critics love this classic Oregon sparkling wine because it delivers deliciousness at a fair price. Ripe pear and apple notes on the palate, creamy texture and a refreshing zippy finish all wrapped in a balanced, polished bubbly package. $40 Skipstone 8th ed. Rose de Constance Grand Cru Blanc de Blancs: France meets California as the Sonoma winery Skipstone partners with this Champagne gem. It's a blend of fruit from Grand Cru vineyards and aged on the lees for two years. Vibrant peach and citrus notes on the palate and a lovely mousse texture round out the taste profile while notes of buttered biscuit and almond at the finish make this one complex and decadent to enjoy now or age for another decade. $135 Champagne Mandois Rose Grande Reserve: This harmonious Champagne is a polished expression of Pinot Noir, Chardonnay, and Pinot Meunier. The nose shows strawberry and peach notes while the palate boasts a creamy texture and lingering finish. It's a stylish bubbly of beautiful pink hues in the glass and juicy deliciousness. $60 Dom Pérignon Vintage 2015 Special Edition – Tribute to Jean-Michel Basquiat: The artsy mother in your life will love this bottle. It's a world-class Champagne made with some the region's most prized grapes, and this bottle is even more special with its custom label adorned with artwork inspired by the legendary Jean-Michel Basquiat. It's a colorful, luxurious one-of-a-kind Champagnes. $305 Provocativo Premium Bubbles: A Spanish Cava crafted by a women-led team—backed by global music icon Bebe Rexha and crafted by second-generation winemaker Briana DiTommaso. A blend of Chardonnay and Macabeo grapes that delivers a juicy crisp apple palate that finishes with a mouthwatering citrus note. $29.99 Jansz Tasmania Premium Rose, NV: This is one of the cooler options to gift to mom—a method champenoise sparkling from Tasmania, which boasts a remarkable growing region for Champagne grapes such as Chardonnay and Pinot Noir. It's a fine price too—for $30 you'll get pretty blush rose petal hues in the glass, lifted notes of strawberry and lemon zest layered with a thread of buttery brioche. Just yummy. $30 Rouanne Brut Nature Millesime 2022: A groovy method champenoise expression of 100% Mourvedre and made without any additional dosage. It's crisp, bright, even a bit spicy—made from grapes grown on vines that are over 50 years old, so it has an almost intellectual, polished purity—something that you can't get from younger vines. $30 Babylonstoren Sprankel Cap Classique: South African sparkling wine is a lesser-known gem and this one is a great example. Made from premium chardonnay grapes cultivated at a variety of altitudes, this bubbly takes four years to make from harvest to aging. The palate is fresh with notes of cut apple, brioche and a bit of citrus. Textured, elegant and subtle—a classic gem for $66. French Bloom Le Blanc is a non-alcoholic sparkling wine made from organic Chardonnay and Pinot Noir wines from Languedoc. It drinks and feels like a true bubbly with notes of pear, flowers and citrus. Founded in 2019, the brand leads in premium alcohol-free wines and has won top global awards. $39 French Bloom N/A Sparkling Wine
Yahoo
26-04-2025
- Business
- Yahoo
A Rare Early Basquiat Painting Could Fetch $15 Million at Auction
Jean-Michel Basquiat's market remains anything but quiet. This May, a rediscovered early painting by the artist will headline Sotheby's Contemporary Evening Auction in New York with a $10 million to $15 million estimate. The untitled 1981 work hasn't been seen publicly in 36 years. It was acquired in 1989 and has remained tucked away in the same private collection ever since—until now. Painted when Basquiat was just 20 years old, the five-foot-wide piece captures the heat and urgency of his breakout moment: a frenetic, mythic figure scrawled in oilstick on paper, hovering, as Jeffery Deitch once put it, between the street and the studio. It's precisely this 1981 to 1983 period that collectors treat as a gold standard—nine of Basquiat's 10 highest auction prices were for works from those years. Sotheby's is betting that even in a cooling market, a prime Basquiat still sells. More from Robb Report A 140-Year-Old Hamptons Home With Original Detailing Just Listed for $14.3 Million American Spirits Brands Exported a Record $2.4 Billion Last Year British Design Legend Tom Dixon Just Listed His Curvaceous Villa in Mykonos for $25 Million They'll need it to: The May sales arrive at a moment of hesitation in the high end of the market. Global art sales dropped 12 percent by value in 2023, and big-ticket consignments have become harder to secure. Gone are the salad days of Macklowe and Paul Allen. But Sotheby's is betting that what it does have—works that haven't been offered publicly in decades, and in some cases, ever—will do more than compensate. 'Because there's less volume, you need to be more astute and bring things that are really exciting for everyone in order to get people's attention—because people's attention right now is very much in the news,' Grégoire Billault, Sotheby's chairman of contemporary art, told ARTnews. Sotheby's believes it has done just that. The season's contemporary offerings are anchored by three tightly held, high-profile private collections: 12 works from the estate of Barbara Gladstone, more than 40 pieces from the Roy Lichtenstein Foundation, and the 'Im Spazio' group assembled by Daniella Luxembourg, focusing on postwar Italian and American abstraction. 'These are works that have never been seen,' Billault said. 'Completely fresh to the market.' Among the top lots: Lucio Fontana's glitter-dusted Concetto spaziale, La Fine di Dio (1963), estimated at $12 million to $18 million; Robert Rauschenberg's towering Combine Rigger (1961) which was once owned by Sally and Victor Ganz, at $8 million to $12 million; Frank Stella's Adelante (1964), a metallic Running V canvas deaccessioned by SFMOMA, estimated at $10 million to $15 million; and Ed Ruscha's sfumato-text That Was Then This Is Now (1989), estimated at $7 million to $10 million. (SFMOMA has consigned two other works to Sotheby's Modern evening sale: Henri Matisse's Le Bouquet d'anémones and Alexander Calder's Four Big Dots, though the auction house did not release the estimates for those works.) In the Modern Evening Auction, set for May 13, Sotheby's will offer Pablo Picasso's Homme assis (1969), a flamboyant musketeer portrait from the artist's final decade, estimated at $12 million to $18 million, and Georgia O'Keeffe's lush Leaves of a Plant (1942), painted three years after her trip to Hawaii and held in a private collection for nearly half a century, also estimated at $8 million to $12 million. Altogether, Sotheby's expects its two evening sales—Modern and Contemporary—to bring in between $382.9 million and $525.2 million, slightly above last May's range of $365 million – $490.5 million. Contemporary evening offerings (including The Now sale, and the Gladstone and Luxembourg sales) are expected to bring in between $142.6 million to $206.5 million, up 16 percent from last November. The Modern Evening Sale alone carries an estimate of $240.3 million to $318.7 million—nearly triple last fall's $92.3 million to $135 million range and a significant jump from the May 2024 forecast of $180.9 million to $250.7 million. Still, volume across the board is down. 'There's less for sale,' Billault acknowledged. 'But in terms of pricing, I see a market that's doing actually very well.' Recent results, he added, including strong showings in London, Paris, and Hong Kong, support the idea that buyers remain engaged—provided the works are exceptional and fresh. 'This may not be the biggest season,' he said, 'but just imagine being able to buy what Barbara Gladstone was collecting for forty years. Or works from the estate of Roy Lichtenstein—one of the giants of American art history. The last estate of that caliber was probably Warhol at Sotheby's in the 1990s.' The exhibitions for Sotheby's Modern and Contemporary sales open May 2 and run through May 15 at the house's York Avenue galleries. Evening sales begin May 13. Best of Robb Report The 10 Priciest Neighborhoods in America (And How They Got to Be That Way) In Pictures: Most Expensive Properties Click here to read the full article. Sign in to access your portfolio
New York Times
21-04-2025
- Entertainment
- New York Times
Goose Rules the Jam-Band Roost (Sorry, Haters)
A monkey, a giraffe, a pair of goth nuns, a bee holding flowers and an old-timey circus strongman made their way through the crowd last month at Luna Luna, the lost art carnival, in Manhattan. Fans of the 11-year-old jam band Goose were wise to what they were witnessing. 'They're from the band's lore,' one explained spying the performers, who had assembled to help announce a new Goose album, 'Everything Must Go.' Soon the four members of Goose and a guest saxophonist situated themselves in the center of the crowd of hundreds that fanned out to Jean-Michel Basquiat's Ferris wheel and Keith Haring's carousel, and began an hourlong jam. Creative, intentional, extremely eager to please: The whole thing was very Goose. A jam band 'is like a sitcom,' said Cotter Ellis, Goose's drummer. 'When you watch a show like 'The Office,' after a while you feel like you know the characters. That's how people view us — they feel they're such a part of the scene that they actually get to know us.' Ellis, 33, who earlier had strolled anonymously around Luna Luna dressed as a lion, added, 'I like that. I don't want to be seen as better than the crowd. I want it to be seen as, 'We're all in this together.'' 'Everything Must Go,' a 14-song set that features major-key tunes with lyrics alternately goofy and uplifting, a prog-y instrumental number and a new single, the Don Henley-inflected 'Your Direction,' comes as the group solidifies its status as rock's biggest 'new' jam band. On Thursday, Goose will make its debut at the New Orleans Jazz & Heritage Festival, followed by its first destination festival — Viva el Gonzo, next month in San José del Cabo, Mexico — and a sold-out headlining concert in June at Madison Square Garden, long the site of heralded residencies by the jam great Phish. Together, it all inescapably feels like an anointment. 'Within the community, there's all this talk of, 'Who's coming next?'' said Peter Anspach, Goose's keyboardist. 'You see the lineage of the Grateful Dead, Phish. 'Well, what's going to happen after this?' Is it going to be a pool of bands? Is it going to be, like, one pinnacle band?' Goose — not to be confused with Geese, an indie-rock band from Brooklyn — has been embraced by its elders. Rick Mitarotonda, the band's virtuosic guitarist, has sat in with Dead & Company and played with Phil Lesh and Friends. Phish's Trey Anastasio joined Goose during a 2022 concert at Radio City Music Hall, and took his Trey Anastasio Band on the road with the young group for eight dates where they shared top billing later that year. Performing at a benefit for hurricane victims last year at the Garden, Goose welcomed Dave Matthews for a rendition of 'The Way It Is,' a song by the former Dead touring member Bruce Hornsby — who has also performed it with Goose. 'They're creating something that will expand and evolve to more adventurous musical areas for years,' said Hornsby, who guested on the song at a Goose concert last year at Hampton Coliseum, near where Hornsby lives in Virginia. 'I think their musical heart is in the right place,' he added. 'They're intellectually curious, musically.' But as in any insular scene with its own customs, vernacular and fiercely protective fans, there has been backlash. Social media is packed with digs and memes implying that Goose is too slick, too corporate. The band has 'gotten guerrilla advertising campaigns that have gotten the name out via social media,' a Reddit post said. 'Their fans are convincing themselves that they're witnessing something like 93 Phish' reads a message-board post. 'Not 100 percent sold on Goose,' the saying goes. Hidden amid the invective and gatekeeping is a kernel of truth about the novelty of Goose's rise. It has not been a stealth 'guerrilla advertising campaign,' but rather the work of savvy, ambitious musicians leveraging how music travels today to make themselves supremely available to fans. Borrowing from pop fandoms — and some roots laid by jam royalty — Goose has been assiduous and clever about building lore like cheeky in-jokes (its self-proclaimed genre, 'indie groove,' is a pun on 'in the groove'), annual celebrations (one word: Goosemas) and gimmicks such as Bingo Nights, where the next song is selected by a gigantic ball generator. Concerts are livestreamed, and soundboard recordings available to download within hours after a gig. Four shows from last year alone — including a two-night run at the Capitol Theater in Port Chester, N.Y., that included Vampire Weekend sitting in for a 33-minute jam on 'Cape Cod Kwassa Kwassa' — are available on Spotify. 'It's the classic thing, of how everything seems like an overnight success,' Mitarotonda, 34, said. 'It was many, many years of work. To me, it started when I was in middle school. It's not a straight line, it's a very weird and challenging road.' GOOSE'S JOURNEY BEGAN in suburban Connecticut, where three-quarters of the band grew up and today Mitarotonda lives in a house purchased during the pandemic alongside a barnlike studio he built. In middle school and high school he studied jazz; he listened to the Dead and Phish, he said, 'to get stoned and let my hair down.' Trevor Weekz, Goose's bassist and the other founding member still with the band, was into metal as well as jam music. Weekz, 35, and Mitarotonda met in high school, and later played in a band called Vasudo along with Ben Atkind, Goose's original drummer, who left in late 2023, and Matt Campbell, who remains Mitarotonda's songwriting collaborator. Vasudo ended, and Mitarotonda found himself in Fort Collins, Colo., slinging tacos and itching to be in a band again. So in 2014 he put one together with Vasudo alumni, borrowing a bit of nonsensical kitchen lingo from the restaurant Dam Good Tacos — 'Goose, I need three pollo'; 'Carne asada, good to goose.' Already, Mitarotonda's listening habits were expanding. Jerry Garcia had bluegrass and Django Reinhardt; Trey Anastasio mined Frank Zappa and Talking Heads. Mitarotonda became enamored of Fleet Foxes, the Seattle indie-rock act. Other indie influences followed, including Father John Misty (Fleet Foxes' drummer for a time, who has since sat in with Goose) and Bon Iver. 'It was two LPs and two EPs,' Mitarotonda said of Fleet Foxes' output circa 2014, 'but it was a world. The artwork, the aesthetic, the music, the melodies, the lyrics — nothing took you out of that world.' Goose by all accounts became the band it remains today, in 2017, when Anspach, who was with the eclectic jam band Great Blue, joined as keyboardist despite being a guitarist who did not really know keys. Something of a Paul to Mitarotonda's John — sonically obsessive, interpersonally garrulous — Anspach, 32, took on the role of concert emcee and, thanks to a charismatic mustache, the one you would be likeliest to recognize if you saw him walking down the street. Anspach's technical know-how and perfectionism unlocked the band's secret weapon — accessibility — and the group started to pump out a constant stream of almost immediately available, high-quality soundboard recordings and impressive video. 'Once he joined the band, it was like I had someone on the front lines — I always picture Green Berets with knives in their teeth, scaling a wall,' Mitarotonda said. 'It felt like I had had another guy with a knife in his teeth.' Goose's appearance at the 2019 Peach Music Festival in Scranton, Pa., is a case in point. The festival poster broadcast headliners like Phil Lesh and Friends, the Trey Anastasio Band and the String Cheese Incident in big print; Goose was the equivalent of a footnote. But its jam-heavy set — with multiple, well-edited camera angles and terrific soundboard audio — has been viewed on YouTube 434,000 times. A 38-minute clip from the 2022 Radio City show with the Anastasio cameo has nearly one million views. 'During Covid, they maybe grew, didn't shrink,' Peter Shapiro, an impresario of the jam-band world, said in an interview. 'They had their own video crew, and their streams would feature these hand-held cameras that are unbelievable. The last generation of bands didn't have that streaming thing and the ability to self-release videos.' Shapiro waved off talk of a conspiracy theory to boost the band's profile. 'It's all grass roots,' he said. 'It all comes from the fans and the band's unique relationship to them.' EARLIER THIS MONTH, Goose gathered at Mitarotonda's barn studio in northern Fairfield County. The guitarist has a Golden retriever, Shasta, and chickens whose daily eggs are a better hedge against inflation than most of us enjoy. On a couch in the studio, next to a pull-up station, the band members discussed the things millennial men discuss — real estate, a Bill Burr stand-up routine, lunch — and then tuned, jammed a bit and rehearsed tight versions of tracks from 'Everything Must Go' for a TV appearance. 'Everything Must Go,' its first studio album in three years, catches Goose over an extended period of change, like a photograph taken by a camera set to a very slow shutter speed. Most of the tracks have already been performed live, some for years; a few are brand-new. Four drummers or percussionists appear, including Ellis, the departed Atkind and the percussionist Jeffrey Arevalo — who joined the band in 2020 and left Goose earlier this year because of what the band in a statement called 'inappropriate behavior in Jeff's personal life that does not align with the band's core values.' In a phone interview, Arevalo declined to comment on the behavior; in a statement, he acknowledged pursuing a 'program' to deal with a 'mental health crisis.' Ellis, the current drummer, joined the band a little more than a year ago to replace Atkind. Ellis could well be a typical Goose devotee. While familiar with the band, he had not been a huge fan, instead preferring — who else? — Phish. But as he acquainted himself with Goose's ouevre, he was surprised by how much he loved the music, particularly given its debt to newer sources. (Ellis has since become a Bon Iver fan, too.) 'It felt fresh and exciting, and like we could actually do something new,' Ellis said. For a community that relishes the novelty and spontaneity of live shows, jam-band fans can sometimes be awfully set in their ways. On a recent episode of 'Slow Ready,' a generally worshipful Goose fan podcast, one host proposed that Goose stop releasing studio albums. 'In the jam-band scene — I made this joke the other day — putting out records sometimes feels like extra credit,' Mitarotonda said. But the band relishes seeing what happens to the songs in the studio. Anspach grinned while observing that the live staple 'California Magic' had gotten slower ('swampy') on the album, with in-studio horns. The title track clicked for Mitarotonda when the producer D. James Goodwin recorded and chopped up the drums, the kind of thing Radiohead might do. In addition to 'Everything Must Go,' in recent months Goose has recorded more for another, future album. In the phone interview, Arevalo, the recently departed percussionist, criticized Goose for prioritizing commerce over music: 'I think it was a conscious decision to spend more time focused on growing the business and less time focused on growing the art.' Mitarotonda dismissed the complaint — the band's primary motivation, he maintained, is pushing its music further. But he acknowledged that as Goose has grown more popular, maintaining focus on the art has become harder. It is difficult not to notice that the album's closing track, the anthemic 'How It Ends,' is about a band driving a van off a cliff (a 'metaphor,' said Mitarotonda; 'super-hopeful,' clarified Weekz). 'Most artists I would imagine struggle with the chaos of everything,' Mitarotonda said. As an example, he cited George R.R. Martin, the author of the book cycle that became 'Game of Thrones.' Martin famously has not delivered a conclusion to his narrative even as the television show raced ahead and ended the story in its own, widely criticized fashion. 'He wrote these books, and they had such an impact,' Mitarotonda said. 'And the show moved at a different pace, and the world moved at a different pace than his pace. And his pace is what made the whole thing good in the first place.' Mitarotonda added, 'I'm slow. I like being slow. Sometimes when you're slow, then it happens fast. But if you try to do it fast — if you try to keep up with the fast — nothing good happens.'
