After the Fall
"I have never been much of a painter" - Christian Marclay
Christian Marclay, The Clock, 2010.











The recovery in art prices has been accelerating since 2010 for example, with the record-breaking sales of Giacometti’s L’homme qui Marche for $103.78 million.

Giacommetti's Pointing Man was expected to sell for $130 million in Christie's 2015 Looking Forward to the Past sale. It sold for $141 million.
Alberto Giacometti, Pointing Man, 1947.











Sold at auction in 2010 for $106.5 million, setting a world record price for any work of art
Pablo Picasso, Nude, Green Leaves and Bust, 1932.











Bought in 1973 by Michael Chriton, directly from his good friend, the artist.
Sold in 2010 for $28,642,500 million after Chriton's death, setting a record for artist.
Jasper Johns, Flag, 1960.











Sold for $119,922,500 in 2012, setting a new world record for any work of art at auction.
Edvard Munch, The Scream IV, 1895.











In 2013, estimated to sell between $25 and $35 million.
Sold at auction for $58,363,750.
Jackson Pollock, No. 19, 1948.











The three most valuable works of art (paintings) to date:
sold by Dimitry Rybolovlev in 2017 to Abu Dhabi Department of Culture & Tourism for $450 million
sold by David Geffin to Kenneth Griffin in 2015 by private sale for suspected $300 million
sold privately by George Embiricos to the State of Qatar in 2011 for $259 to $300 million
Leonardo da Vinci, Salvator Mundi, c. 1500.
Willem De Kooning, Interchange, 1955.
Paul Cezanne, The Card Players, 1892 - 1893.











In a 2015 Artsy study on the most expensive artists at auction, only two women artist's names appear on the list of 100 most expensive works purchased at auction!!
Georgia O'Keefe's Jimson Weed/White Flower No. 1 was sold in 2014 at auction to Alice Walton for the Crystal Bridges Museum of American Art for $44.4 million, making it the most expensive work of art by a woman.
Georgia O'Keefe, Jimson Weed/
White Flower no. 1
, 1932.











"In Modernist Painting, Clement Greenberg argued that the authentic, self-reflexive - or as he called it, 'self-critic' - avant-garde artist is the one who tests the work of art against the logic of its own specific conditions, and who acknowledges the tradition of his medium by referring to its history, at least implicitly.'" - Art Since 1900
Clement Greenberg looking at a Kenneth Noland painting








"By the seventies, however, three developments seemed to have consigned this view of the modernist avant-garde and medium-specificity to the junk-heap of history: the 'dematerialization' of the aesthetic object; the advent of conceptualism; and the ascendency of Duchamp over Picasso as the century's most important artist." - Art Since 1900
Ai Wei Wei, Forever Bicycles, 2003.











"Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture), he is accepting the tradition that goes with it. That's because if you make paintings you are already accepting (not questioning) the nature of art." - Joseph Kosuth in Art Since 1900
Joseph Kosuth, One and Three Chairs, 1965.











Gordon Matta Clark, Splitting, 1974.












Gordon Matta Clark, Conical Intersect, 1975.











Michael Asher installation at the Santa Monica Museum of Art, 2008.
Reconstituted temporary walls built for the 44 exhibitions that the museum mounted
since the museum moved to its Bergamot Station location in 1998.











"Installation art, the mixed-media presentation of tableaux inside museums and galleries, with its disdain for the specific medium , may be interpreted as the contemporary heir to the attack on medium-specificity mounted by the dematerialization of the art object, conceptualism, and Duchamp. As such, it is the herald of what we name the 'postmedium condition'." - Art Since 1900
Ai Wei Wei, Forever Bicycles, 2011.












Christian Marclay, Telephones, 1995.











Carstan Holler, Giant Psycho Tank, 1999.











Giant Psycho Tank in use











Carsten Holler, Upside Down Mushroom Room, 2000.





















Slavery! Slavery!

Kara Walker, Slavery! Slavery! Presenting a GRAND and LIFELIKE Panoramic Journey into Picturesque
Southern Slavery of "Life at 'Ol' Virginny's Hole' (sketches from Plantation Life)"
See the Peculiar Institution as never before! All cut from black paper by the able hand of
Kara Elizabeth Walker, an Emancipated Negress and leader in her Cause,











Gone An Historical Romance

Kara Walker, Detail from Gone, An Historical Romance of a Civil War
As It Occurred Between the Dusky Thighs of One Young Negress and Her Heart
, 1994.


Kara Walker in Art 21: Art in the 21st Century























Liberation of Aunt Jemima

"All black people in America want to be slaves just a little bit." - Walker
Kara Walker's work is "sort of revolting and negative and a form of betrayal to the slaves, particularly women and children; that is that it was basically for the amusement and the investment of the white art establishment." - Betye Saar
"These are the slave narratives that were never written. Kara's work takes from fact but also fantasy and throws on its head any notion we might have of good and bad, right and wrong, black and white. There are no clear dichotomies." - Thelma Golden
"Walker refuses to see racism as a clear question of 'us versus them.' Instead, she performs a complex excavation of both the psychological and the sociological dimensions of identification." - David Joselit
Betye Saar, The Liberation of Aunt Jemima Cocktail, 1973.










You Do

Josephine Baker

Kara Walker, You Do, 1997.
Josephine Baker performing the Danse Sauvage in 1927.
Beyonce, Single Ladies, 2008.











“Needless to say, it is the two hundred year history of a shameful act conducted squarely within our consciousness that makes it possible for Walker to not only refuse shame but to blur the distinction between forms of shame. Even more important, Walker is aware that to speak of shame is simultaneously to speak of disgust, the overcoming of which is a prerequisite for sexual pleasure. Given the volume of shame, it is no wonder that the pleasures derived by her characters are often Sadistic in nature.” – Hamza Walker

installation at the Renaissance Society

Kara Walker, Keys to the Coop, 1997.



Mark Steven Greenfield's website


Jason and Aaron White, The Dance, 2005.











Kara Walker, A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and
overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens
of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant
, 2014.


Creative Time