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The Behr Paintings (A Humble Take on the Benjamin Moore Paintings)

I’m not sure when I first got interested in Frank Stella’s Benjamin Moore Paintings. I’ve certainly had a long-standing fascination with them. It’s likely that I’ve seen images in exhibition catalogs over the years, but it was most probably the sale of the Benjamin Moore Paintings at Christie’s 20th Century Evening Sale in New York in 2020 that crystallized my fixation. Regrettably, I didn’t get to see those works firsthand, and so my connection, like so many things these days, was a virtual one established while scrolling through the auction preview images. Ever since then, the thought of replicating the Benjamin Moore Paintings has been on my mind.

A Concise History of the Benjamin Moore Series

The first Benjamin Moore Paintings consisted of a set of six large canvases painted in 1961, each measuring 6.5 by 6.5 feet. The series takes its name from the brand of paint used by Stella, a commercial Benjamin Moore flat alkyd house paint straight out of the can. Each work showcased one of six distinct geometric patterns and was painted in one of six colours (red, blue, green, yellow, orange or purple). The titling of each work (as opposed to the series) was inspired by Civil War and American Revolution references: Delaware Crossing (painted in red), Hampton Roads (blue), Island No.10 (green), New Madrid (orange), Palmito Ranch (yellow) and Sabine Pass (purple).

Stella believed that the colours and geometric patterns were interchangeable and that any combination would work side-by-side. To prove his point, in the same year and into 1962, he completed thirty-six smaller versions (affectionately known as the miniatures), each measuring 12 x 12 inches, whereby he mixed and matched the colours and patterns. Each geometric pattern was painted in each colour and six groupings were created.

The large-scale Benjamin Moore Paintings debuted in Stella’s first European one-man show at Galerie Lawrence in Paris in 1961 as did thirty-five of the smaller versions. The last of the miniatures and, perhaps the most famous, was commissioned by Andy Warhol and painted in 1962.

The Behr Spin

The Behr Paintings are inspired by the entirety of Benjamin Moore Series, but more specifically, the set of six miniatures that was sold at Christie’s in 2020. It is that particular colour/pattern combination that is replicated in the Behr Paintings.

Frank Stella’s Benjamin Moore Paintings (six works), 1961, alkyd on canvas (each 12 x 12 in.), auctioned at Christie’s 20th Century Evening Sale on October 6, 2020 in New York. Estimate: USD $8,000,000 - $10,000,000. Price Realized: USD $8,830,000.

While numerous obviosities and many nuances exist relative to the Benjamin Moore Paintings, the hope was that the Behr Paintings would evoke a similar visual connection and vibe.

The actual Benjamin Moore color codes used by Stella are not known. That opened the door for a bit of improvisation. Behr paint happens to be a personal favorite, and given that it is relatively more affordable, particularly in economical tester jars, using Behr brand acrylic latex paint in a flat finish seemed like an appropriate proxy, and hence, the Behr Paintings. The colours selected were consistent with Stella’s palette and reflect the purest of such colours as per Behr’s website recommendations. The red is Flirt Alert (P150-7); green, Park Picnic (P390-7); blue, Beacon Blue (P510-7); yellow, Buzz In (P300-6); purple, Just A Fairy Tale (P560-6); and, orange, Tart Orange (HDC-MD-27).

Stella executed the works freehand with remarkable precision whereas tape was used to provide the pattern guidelines for the Behr Paintings. Also, burlap was the chosen surface medium instead of canvas to compensate for the many accidents d’ateliers in the painting process and to project a less rigid feel, the idea being that the roughness of the weave might result in a fuzziness more akin to the feathered touch in Stella’s earlier works.

Three sets of Behr Paintings exist. The proof of concept (POC) version is a collection of the first attempts along with a few do overs;  the next set, the official first version, reflects some improvements thereon, nuances really; and, the last one (V#2) is distinctive by a variation in one of the works, the yellow one, where the spacing of the diagonals is a more accurate rendition of Stella’s originals, an inconsistency noticed only after the first two sets were completed. Specific titling of each work was dropped in favour of the series name (Behr Paintings) and the generic colour of the work (red, blue, green, yellow, orange or purple). POC and V#2 nomenclatures referring to the different sets are also included in the titling when applicable.

The Three Coincidences 

The story of the Behr Paintings would not be complete without mention of the three coincidences that occurred at and around the time of painting.

The first and probably the eeriest was while outlining the diagonals in the yellow work of the POC set, I received an Armory Fair preview by a local gallery featuring pieces by Canadian artist Tammi Campbell. One of the highlights was her take on the very Benjamin Moore miniature I was working on at that time - same pattern, same colour. It could have been any of six patterns and any of six colours, and that’s even before considering the randomness of her working on the series at all.

The second coincidence was while researching Stella in September 2025, I came across a catalog of earlier works, the Black Paintings, which were seminal in his career and important building blocks for the Benjamin Moore Paintings. I was so captivated by the body of work that I took a picture of the catalog cover as a reminder to do a deeper dive at some point in the future. A month later, I was in Los Angeles for a wedding. With some spare time, I visited the Los Angeles County Museum of Art (LACMA) where I unexpectedly came face-to-face with the actual painting on the catalog cover.

The third relates to the provenance of the Benjamin Moore Paintings. Stella’s catalogue raisonné, Paintings 1958 to 1965, is a book that compiles all the artist’s oeuvre spanning that period, including detailed descriptions and a record of who owned the works since they left the artist’s studio. The large Benjamin Moore Paintings and the thirty-six smaller versions are included therein. At the time of publication of the compendium in 1986, the owner of the specific set of Benjamin Moore Paintings that was the source inspiration for the Behr Paintings resided in Thousand Oaks, California. While at the previously mentioned wedding, I happened to be staying in Thousand Oaks.

As at this time, Behr Paintings hang above fireplaces in London, UK and Montréal, Québec, with a pending installation slated for a similar spot in Toronto, Ontario.

On the subject of Hogtown, it’s kind of amazing that notwithstanding some horrible performances, the Dinos find themselves in fifth place in the East. That’s perhaps more a statement about their in-conference competition than the strength of the team, but we’ll take it. With the pinnacle of the East not ridiculously far out of reach, the anticipation was that the team brass would make a splash before the trading deadline. Names like Ja, Giannis, and Domantas were bandied about, tantalizing and teasing fans. Well, the deadline came and went without much fanfare. The Ochai Enigma was shipped out in a deal that landed CP3, a future Hall of Famer, only to find out in the same breath that the aging former superstar would not report for duty. The manoeuvre, however, did pave the way for the follow-on acquisition of Trayce Jackson-Davis, a 6’9” big who can hopefully provide some paint presence. At the end of the day, the ultimate winners were the players on the current roster as management clearly decided to run with them. We’ll see how that goes.

For more information on Frank Stella or the Benjamin Moore Paintings, and the fate of the Dinos in the next stretch of the season, “Just Google It”.

There you have it Sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

Back in the medieval hilltop town of Petritoli in Le Marche after a two-and-a-half-day art-scape to London where the all-important seasonal modern and contemporary art auctions and major art fairs were underway alongside the innumerable gallery and museum exhibits that make up the city’s vibrant cultural fabric. Returning to the serenity and coziness of a small Italian village was a welcomed breather from the craziness and intensity of London, and the art madness that overtakes the city at this time. That being said, the viewing experience was fantastic. With one eye on the auctions, the art adventure included stops at Frieze London, Frieze Masters and 1-54 London art fairs, and Peter Doig, Wayne Thiebaud and Yto Barrada exhibits.

The lead up to the week’s festivities was hopeful. Even with the backdrop of a very sluggish art market over the past three years and the overhang of geopolitical tensions, it appeared that the art world threw caution to the wind, at least in spirit and attitude, as a notable exuberance prevailed at all the venues. Crowded corridors and engaged art fans seemed to lay the groundwork for brighter days ahead.

All that was supported by mostly positive auction results achieved earlier in the week. Christie’s 20th/21st Century: London Evening Sale posted the highest sales with a total of US$142.9 million, up 30% year over year. Logging in at US$63.3 million, Sotheby’s Contemporary Evening Sale also experienced a healthy increase of 27% over prior year’s results. Only Phillips somewhat stumbled in their Modern and Contemporary Evening Sale which yielded US$13.9 million, a 32% decline from last year. It seemed, however, that gallerists and collectors looked past the Phillips result and instead focused on the good news from the larger two auction houses, and that enthusiasm poured into the fairs.   

Set in beautiful Regent’s Park, Frieze London and Frieze Masters were the centerpieces of the fair scene. Together these two featured over 280 galleries from 45 countries reflecting a diverse and broad visual art presentation across historical and contemporary periods. The vibe at Frieze London was young and buoyant and in keeping with the grouping of 160 leading and emerging galleries laser focused on contemporary art. Highlights included: Velma Rosai Makhandia’s mystical “Whistling Ghost Birds”, 2025, oil pastel and acrylic on canvas (two panels, each 42.1 x 68.9 in.); Ken Kiff’s dreamy “GT/KK 2-96 A7 (Red Flower, River, Women)”, 1992-1996, oil on paper over monoprint (56.25 x 109.9 x 2 in.); and Diambe’s richly coloured “Devoção”, 2025, tempera on linen (24 x 18.1 in.).  The offering at Frieze Masters was broader in scope as the 120 galleries exhibited everything from ancient artifacts to antiquities to old masters’ paintings and 20th century masterworks. Contrary to expectations, all age groups were well represented in the crowds, signaling perhaps a growing interest in more historical collectables by a younger generation of art fans. Fair highlights included: Willem de Kooning’s “Cross-Legged Figure”, conceived and cast in 1972, bronze, Edition 1 of 7 with 3 APs (24 x 17 x 16 in.); from the Workshop of El Greco “Saint Francis and Brother Leo”, early 17th century, oil on canvas (30.75 x  22.5 in.); Lucio Fontana’s “Soffitto: Concetto Spaziale”, 1957, tempera, engravings and holes on polystyrene (78.75 x 118.1 in.); and Sari Dienes’ “White Corduroy”, 1970, mixed media on corduroy (120.25 x 134 in.).

The 1-54 London fair returned to Somerset House for its thirteenth edition. Showcasing contemporary art from Africa and its diaspora, over 50 galleries representing over 100 established and emerging artists participated and featured a variety of media including painting, photography, sculpture, textiles and ceramics. It was very well received. In particular, the smaller presentation rooms scattered throughout the venue allowed for a more intimate interaction with the works, artists and gallerists. Highlights included: Collin Sekajugo’s “Yes he can”, 2025, photo print, polypropylene, textile and acrylic on denim (59.8 x 39.8 in.); Ugonna Hosten’s “Sunrise (Azure Vault)”, 2025, epoxy, shell, collaged monotype, photograph on paper, oil pastel, ink, charcoal on linen mounted on board (25.63 x 44.33); and, most notably, a grouping of portraits by Moridja Kitenge Banza, “Portrait of Malaika I”, “Malaika the First” and “Queen Mother”, 2024, acrylic on canvas (each, 60 x 48 in.). Moridja’s presence at the fair surrounded by his powerful works elevated the experience.

The Peter Doig exhibition at Serpentine South Gallery “House of Music” featured music as much as paintings. Transformed into a multisensory space, visitors were invited to linger, look and listen. The works included paintings from Doig’s years in Trinidad (2002-21) as well as new paintings, and the music was selected from the artist’s vast archive of vinyl records and tapes. The highlight was the dreamy “Music of the Future”, 2002-2007, oil on linen (79.13 x 130.13 in.). Playing at the time viewing on behemoth retro high-fidelity speakers was “The Blue Yusef Lateef”, promotional DJ copy. At the Courtauld, quintessential works by Wayne Thiebaud were on display in the “Wayne Thiebaud: American Still Life” exhibit. The renderings of common objects were rich and luscious, and the crowds ate them up. Favorites included: “Five Hot Dogs”, 1961, oil on canvas; and, “Three Cones”, 1964, oil on canvas board. Capping things off, Yto Barrada’s “Thrill, Fill and Spill” exhibit donned the walls of the South London Gallery (SLG) and featured exquisite geometric colour field patterns that married textiles and dyes and other wonderful mediums. Highlights included: “Untitled (Six Brown Squares on Pink)”, 2025, cotton, linen, dye from plant and insect extracts; and, “Untitled (Two Pink Stripes on Green II)”, 2025, cotton, dye from plant extracts, noil silk.

A trip to London wouldn’t be the same without a sprinkling of DIY flat upgrades in between art stops, the most ambitious of which was the transatlantic and transcontinental transportation and installation of the “Behr Paintings (POC Set)”, 2025, six works (red, yellow, blue, green, purple and orange), acrylic on burlap (each, 12 x 12 in.). Inspired by Frank Stella’s “Benjamin Moore Series”, the MCG interpretations were a colourful room enhancement.

Meanwhile back in Hogtown, all eyes were focused on the Blue Jays and wow, did they deliver. In yet another epic moment of this MLB post-season, George Springer delivered a seventh inning Game 7 three run homer in the American League Championship Series to clinch a 4-3 victory over the Seattle Mariners, advancing the Jays into the World Series for the first time in over thirty years. And if that wasn’t enough of a Hollywood ending, the home run ball was reportedly caught by a fan wearing a No. 4 Springer jersey. It’s only fitting that next up for the Jays are the heavily favoured Los Angeles Dodgers and their one-man wrecking crew Shohei Ohtani. But that’s for later in the week. As the Jays rest up and prepare for their final challenge, the Dinos will tip off their 2025-26 campaign with higher expectations than in recent years. Hopefully, the strong starting lineup and bolstered bench will translate into a playoff contender. For now, however, October belongs to the Jays, and the Dinos will remain under the radar as the Fall Classic plays out.

For more information on any of the artists or works mentioned, the Blue Jays championship run and the Dinos’ early season results, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

Just back from dropping in on the Big Apple’s art week festivities and partaking in a small sampling of what the city had to offer. With about six hours on the ground, the Armory Show, the anchor fair, was front and center. The visit also includeda stop at Art on Paper, a more modest mid-size fair,and thankfully, there was enough time for an unplanned gallery visit in Chelsea that featured the work of Paul Feeley.  It all was a bit hurried but totally in keeping with the pace of the city. As for the fairs, the offering seemed a bit staid and unadventurous, but perhaps that was in response to a more conservative approach given the backdrop of a squishy art market. Even with all that though, visual filtering yielded some marvelous finds. To top it all off, the Feeley show was off the charts and among the most memorable gallery exhibits in recent years. That together with a classic bodega breakfast bagel (egg, sausage and cheese) eaten at lunch before a cross-town trek made the mad dash experience very worthwhile.

This year’s Armory was slightly smaller than last year’s edition but nevertheless still showcased over 230 galleries from more than 35 countries. As usual, the works on display ranged from historical post war stuff to more recent contemporary and emerging art. The Javits Center easily accommodated exhibitors and fairgoers, allowing for a very comfortable viewing experience with plenty of elbow room to spare. That being said, some AI-generated layout optimization could have minimized fairgoer FOMOB anxiety (Fear Of Missing Out on some Booths due to a quirky floor plan). Some highlights included: Tomasz Kręcicki’s whimsical “Seed”, 2025, oil on canvas (54.3 x 49.25 in.); Franco Guerzoni’s ephemeral “La parete dimenticata”, 2018, scagliola, pigments and copper thread on canvas on board (20.5 x 33.5 x 4.3 in.); Russel Craig’s powerful “Prison Window #4” (as part of his Carceral Views series), 2025, acrylic, burlap coffee bag strips, leather, canvas strips, velvet strips, fabric strips, ground ramen noodles, heavy gel glue, spackle, on wood stretchers and plywood (32,75 x 12 x 11.25 in.); and Michel de Broin’s lights out “Twilight #314”, 2019, lightbulbs, wood and acrylic (52 x 52 x 5.5 in.).

Art on Paper once again held court at Basketball City on Pier 36 where pickup games gave way to hosting the 100-gallery fair that celebrated, for the most part, the conventional and more creative uses of paper. Highlights included: Sati Zech’s joyful “Bollenwork 890”, oil, pigment, plaster, thread and canvas (45 x 42 in.); Jasper Johns’ iconic “Corpse and Mirror”, Ed. 5/50, 1976, etching and aquatint in colors on Rives BFK (25.63 x 19.63 in.); and a booth full of Nina Katchadourian’s ecological sculptures from her “Fake Plants” series made from found paper items, including “Plant #39”, 2021, cardboard, clay pebbles, cardboard toilet paper tubes, crepe paper, ping-pong balls, glass-head pins (35.4 x 15.75 x 15.75 in.).

The Paul Feeley: The Shape of Things exhibit featured a group of canvases and painted-wood constructions by the hand of one of the central figures and masters of the Color Field movement. His biomorphic patterns and color combinations, whether on canvas or free-standing sculptures, were captivating, and the conversations between the two-dimensional and three-dimensional pieces flowed seamlessly in the gallery space. Standouts included: “Achernar”, 1963, oil-based enamel on canvas (60 x 60 in.); “El Asich”, 1965, oil-based enamel on wood (74 x 17.75 x 17.5 in.); and “Delta”, 1965, oil-based enamel on wood (36 x 36 x 36 in.). In the spirit of the playfulness in Feeley’s works, the invitation to the exhibition opening was a miniature 3D paper reproduction of “Dubhe”, a fabulous Feeley sculpture that figured prominently at the Armory fair. Nice touch!

Meanwhile in the world of hoops, all the action was happening overseas with Eurobasket 2025 well underway. It’s been a topsy turvy affair for the 24 participating national teams battling it out for European bragging rights, and there have been plenty of surprises thus far. Most notably, these included: Spain, perennial international basketball powerhouse and defending champions, not moving on to the knockout round of 16; the elimination of the Joker’s Serbia by Lauri Markkanen’s Finland in the round of 16; and Poland, led by former Dino, Jordan Loyd, moving on to the quarter finals. While Lyod only played one year with the Raptors, he did pick up a championship ring for his troubles and is now sharing the spotlight with NBA luminaries like Luka Dončić, Giannis Antetokounmpo and Lauri Markkanen as one of the tourney’s top point getters. Other former Raptors that are making their presence known as their teams advance into the quarters are longtime Dino mainstay JV as well as Denis Schröder, both team captains for their respective squads, Lithuania and Germany. While Toronto’s current team representation is lite in number, it’s huge in stature as Sandro Mamukkelashvili, a new addition this year’s roster, is ruling the paint for Georgia, and is also advancing into the quarters. Stay tuned as the rest of the tournament plays out.

For more information on any of the artists or works mentioned, and the exploits of Jordan Loyd and other Dino hoopsters, past and present, and their respective teams, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

Just back from an action packed four-day jaunt across the pond, the primary purpose of which was to help oversee some renos while tackling a list of DIY flat upgrades. Thankfully, however, between the filler drying and the paint curing, there was the opportunity to selectively scoot out and see a couple of exhibitions. These included: “Once Upon a Time in London” at Saatchi Yates and “Encounters: Giacometti x Huma Bhabha” at the Barbican Art Centre.  Both exhibits offered wonderful visual stimuli and welcomed reprieves from the intensity of finishing way too many projects in a short timeframe.

“Once Upon a Time in London” provided a fantastic snapshot of the evolution of the London art scene since World War II. Showcasing the diversity of quintessential British artistic styles and movements that emerged over that period, the exhibit featured works by post-war heavy weights like Lucian Freud and Francis Bacon, and YBA stars like Damien Hirst and Jenny Saville as well as pieces by more contemporary bright lights like Lynette Yiadom-Boakye and Danny Fox, among others. Highlights included: Alvaro Barrington’s “Garden Flower I, WC”, 2023, oil, acrylic, enamel, flashe paint on burlap in corrugated steel and reclaimed wood frame (39.8 x 32.7 x 4.3 in.); Gerald Laing’s “Cléo from 5 to 7”, 1962, oil on canvas (48.0 x 25.2 in.); and a trio of copper etchings by Lucian Freud, “Blond Girl”, 1985 (27.2 x 23.0 in.), “Head and Shoulders of a Girl”, 1990 (27.2 x 23.0 in.) and “Girl Sitting”, 1987 (23.3 x 27.2 in.). As a bonus, contemporary artists Benjamin Spiers and Oli Epp were on site and graciously gifted to those who queued up early enough, limited-edition prints based on their exhibited works, “Metamorphasis” and “Professor Spiers”, respectively.

“Encounters: Giacometti x Huma Bhabha” is the first of a three-part series that celebrates works by the Swiss master sculptor Alberto Giacometti alongside those of more contemporary artists, in this case Pakistani-American Huma Bhabha. As a pairing, the visual was interesting given the stark contrast between Giacometti’s iconic slender bronze human forms and Bhabha’s rougher body parts and partial figures sculpted using more eclectic mediums such as terracotta, plastic and repurposed scrap materials. When all was said and done however, Giacometti’s “Walking Man I”, 1960, bronze, towered above all. The elongated male figure standing just under six feet tall and captured in mid-stride commanded the room. Among the Bhabha works, “Mask of Dimitrios”, 2019, clay, wood, acrylic, oil, oil stick, plastic, rubber, steel wire and Styrofoam (78.13 x 48.0 x 60.0 in.), was a fan favorite. In addition to the art gallery, The Barbican Centre houses several other cultural venues and is in and of itself worth seeing. Bucolic waterways, fountains and waterfalls creatively punctuate a somber concrete campus which is unique looking, equally calming and unnerving, and emitting a bit of a dystopian vibe.

Other notable but less curated stops during the stay included: Howard Bros (at least six times) on Coldharbour Lane for miscellaneous building supplies; Screw Fix in Brixton and on Walworth Road (twice) for tools and hardware; London Decorators Merchants in Brixton for paint; The Nunhead Gardener in Camberwell for plants and patio stone; and Snappy Snaps just off Denmark Hill for a transformative print frame.

Meanwhile, it’s been relatively quiet in Dinoland and a summer more notable by departures than additions. At the top of the list, longstanding GM Sensei Masai moved on leaving a legacy of instilling a winning culture and competitive intensity, and, more tangibly, delivering a championship in 2019. His tenure was among the longest in the NBA at that level, and his boldness, style and personality will certainly be missed. Deux Cuisses de Poulet Boucher, the last remnant of that very championship team, also left Hogtown and will suit up in Beantown. Boucher’s high energy play, and productivity endeared him to everyone except, mysteriously enough, Coach Darko. Shifting strategies and younger player auditions left Boucher in nowhere land last season, and so hopefully the Celtics will provide him with the opportunity to showcase his skills. As for the current roster, the biggest outstanding question is how the high stakes acquisition of Brandon Ingram will play out. Acquired last year, he has yet to play a game in a Raptor uniform due to injury. He’s scheduled to make his debut this season, and how it all congeals with his running mates has yet to be seen.

For more on the exhibits or any of the works mentioned, or the outcome of the Ingram experiment, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

Just back from the Armory and related art festivities in the Big Apple which also hosted the US Open and New York Fashion Week. The eclectic mix of aficionados made for a raucous and visually entertaining backdrop for the supercharged events. On the art front, the Armory Show was center stage as it celebrated its 30th edition and its second at the revamped Javits Center. Other fairs visited were Independent 20th Century and Art on Paper. While the sheer proliferation of fairs in the last decade can inevitably result in hit or miss experiences, the gatherings nevertheless offer the opportunity to see thousands of works by a broad range of local and international artists all under one roof which, with some patience and visual filtering, always yields marvelous art finds.

This year the Armory featured over 235 leading galleries representing more than 35 countries. The notable absence of the mega-galleries and smaller overall international representation gave the fair a more local feel with an energized NYC vibe. The smorgasbord of primarily post-war contemporary offerings ranged from figurative to abstract with a hint of conceptual. The Javits Center easily accommodated the bulked-up size of the fair, and the comfortable spacing and layout enhanced the viewing experience.  Some highlights included: Deni Lantz’s dreamy John Zurier-inspired “Untitled”, 2024, oil and beeswax on canvas (72.0 x 59.84 in.); Anouk Lamm Anouk’s ethereal “post/pre Nº 64”, 2023, acrylic on linen (19.75 x 21.63 in.); Paul Feeley’s iconically shaped “Untitled (January 29)”, 1962, oil-based enamel on canvas (57 x 81 in.); and, Sara Siestreem (Hanis Coos)’s playful “foxes on the moon”, 2024, acrylic, graphite, Xerox transfer on panel board (49 x 72 in.).

Independent 20th Century fair was more highbrow. From a gallery perspective, that might be fine if the right people are showing up; from a fair goer perspective, the offering was more nuanced. Set in the historic Battery Maritime Building for the second year in a row, the smallish 32-exhibitor show primarily championed artists that applied their trade between 1900 and 2000. The highlights included: Squeak Carnwath’s painted patterns and thoughts in “Dick & Jane”, 1996, oil and alkyd on canvas (76 x 102 in.); Tom Fairs’ nightscape “Untitled”, c. 1998-99, mixed media on heavy paper (30 x 22 in.); and Rebecca Ward’s translucent “king ranch lll”, 2013, bleach on canvas (40 x 30 in.).

Art on Paper continued its run on the courts of Basketball City on Pier 36 and celebrated its tenth edition with a 100-gallery roster featuring top modern and contemporary paper-based art. On a relative basis, the offering was probably the most accessible from a price point perspective compared to that of other fairs which likely contributed to its enthusiastic appreciation by art fans.  Highlights included: David Richardson’s “White Roses #3”, 2024, chalk on paper (14 x 11 in.); Simone Christen’s “Moment of Bliss l”, 2023, ink on raw linen (30 x 24 x 1.5 in.); and Herman Cherry’s “Untitled #35”, 1968, oil on rag paper (18.25 x 23 in.).

One of the most impressive sights viewed during the New York visit was a billboard by Glenn Ligon spotted from the High Line at 18th Street and 10th Avenue. This new version of “Untitled (America/Me)” spans 25 x 75 ft and features an altered image of Ligon’s iconic 14 ft 2008 “Untitled” which stretches 14 ft across spelling out the word “AMERICA” in neon lights that flicker on and off.  In 2022, Ligon revisited “Untitled” by creating a print, the original “Untitled (America/Me)”, that manipulated a photograph of the neon by drawing X’s through letters leaving only M and E untouched. The billboard is a reprisal of that modest sized print (14 x 11 in., edition of 50) on a gargantuan level, magnifying perhaps the polarized state of affairs in America today.  

Meanwhile back in Hogtown, it’s time to heat up the grill with BBQ season nearly upon us. The burning question is who is going to run with the Barnes, Barrett and Quickley trio. The Big Austrian is a prime candidate in the middle, but who will suit up at the number 4 spot? The ask is for a 6’8” 240 lbs. defensive stalworth that can guard in space, run the floor and knock down 3’s at a 38% plus clip. The current roster’s cast of characters are not obvious candidates. Tricky Dicky, Kelly Canuk and B-Squared each fall short in a few categories. As the auditioning plays out in training camp and the pre-season, there may be some surprises among the lesser known and yet unproven entities on the payroll, but hope is not a strategy. The whole spells for some uncertainty regarding the upcoming season. Barring injuries, the Dinos may be good enough to better last season’s record of 25-67, but probably not good enough to make a splash beyond a play-in round. With that prospect, Sensei Masai’s hand will not be far from the tank button. In the interim, Coach Darko will have to manage as best as he can and be ready to pivot at any time.

For more information on any of the artists or works mentioned, and the starting lineup for the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

Just back from Hogtown and Larry Gaudet’s “Eris” book launch. While the event was outside the traditional focus of Art Beat’s purview, the prospect of Gaudet’s artistry was not to be missed. As expected, the seasoned author and media thought leader delivered a rockstar performance to celebrate the kickoff of his latest.

“Eris” is a tech thriller with a next-level hacking storyline where entertainment and social media platforms are under terrorist attack as are the corporate elites that run them. As the suspense filled plot unfolds, it exposes the digital age cautions and media afflictions we have all consciously or not succumbed to. Literary types, business folks, friends and family ate it up as Gaudet’s teaser overview and citing of sample media diseases both amused and shook up the crowd. The presentation also featured a short video that introduced the main character and set up the destabilizing backdrop to the novel. The video can be viewed at www.larrygaudet.com, and the book, along with prior works, can be purchased on amazon.ca.

Outside of the book launch, some free time afforded the opportunity to recalibrate from the edgy literary world scene to the more serene visual experiences of a museum visit and a couple of gallery stops. On tap at the Art Gallery of Ontario, the “Moments in Modernism” exhibit offered a peek into the museum’s treasure trove of postwar contemporary works, featuring pop art, abstraction, minimalism and realism from the 60’s, 70’s and 80’s. Except for the misleading titling of the exhibit, the eclectic gathering of works from Canadian, US and international artists was fantastic. Highlights included: Mark Rothko’s “No.1, White and Red”, 1962, oil on canvas (102 x 90 in.) and Rita Letendre’s “Daybreak”, 1983, acrylic on canvas (78 x 144 in.). Elsewhere at the expansive “Jean-Paul Riopelle: Visual Exploration” gallery exhibit, the late mosaic “Couleur”, 1955, oil on canvas, stole the show. Finally, in Prince Edward County, it was a real treat to get a preview of a couple of Milly Ristvedt works to be included in a solo booth exhibit at the upcoming Hamptons Fine Art Fair in July 2024. Both “Sweet Earth”, 1970, acrylic on canvas (27 x 75 in.) and “Ros Solis”, 1970, acrylic on canvas (27 x 71) are exceptional period pieces.

Meanwhile in Jurassic Park, it’s been quiet in anticipation of the 2024 NBA Draft to be held on June 26th and 27th. The Dinos hold the 19th and 31st pick in what’s widely viewed as a somewhat weak class. That being said, it’s characterized as such in part because of the lack of generational talents on the board. One thing for sure is that great players will be drafted. It’s just a bit more challenging to recognize them. Over to Masai and team to spot the future stars, and with some developmental pixie dust, pull a rabbit out of a hat. Or, they could trade their picks and other assets for more proven talent. The next few days could be exciting.

For more on “Eris”, buy the book. For more information on Larry Gaudet, any of the works mentioned or Dino draft day scenarios, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

Just back from the Floating City which served as a beautiful backdrop for the 60th edition of La Biennale di Venezia, the world’s longest running and most extravagant contemporary art festival. Thematically grouped under the banner Foreigners Everywhere – Stranieri Ovunque, the exhibit privileged lesser-known artists from the global south who are foreigners, immigrants, expatriates, diasporic, exiled or refugees, and it showcased craft, tradition and the handmade which often is considered outsider or strange in the world of fine arts. The result was a marvelous adventure where some initial trepidation was quickly assuaged by an explosion of colours and creative renderings. In addition to the Biennale, numerous other exhibits and museum shows were staged concurrently throughout the city and visiting many of these in the two and a half days at hand made the experience that much more memorable.

Training for the Venice marathon was held in the hilltop village of Petritoli in the Le Marche region of Italy, where swims in the Adriatic, biking between neighboring towns and hiking in the Sibillini Mountains prepared the mind, body and soul for the viewing experience to come. The prelude to Venice also included a short stop in Monza and Carlazzo where family and food were graciously celebrated. Fuel throughout was local fare and featured Il Grecale’s calamarata in San Benadetto del Tronto, Antonio’s wood fired margherita pizza in Carlazzo and Osteria Ai Do Farai’s carpaccio di Branzino in Venice.

This year’s Biennale presented the works of over 330 artists, mostly first-time participants, and over 85 countries were represented with their own national pavilions. The principal venues were the Arsenale, a former Venetian military dockyard, which housed themed exhibits as well as some national pavilions, and the Giardini, a lush garden area at the mouth of the Grand Canal that is home to 30 or so permanent national pavilions and a Central Pavilion that featured a curated selection of works by artists from Latin America, Africa, the Middle East and Asia. In addition, there were numerous other Biennale offsite locations scattered about town.

Among the national pavilions, the Australian entry featuring Archie Moore’s monumental family tree dating back 65,000 years took top prize among in-the-know jurors.  Other standouts included: Canada with Kapwani Kiwanga’s sculptures and all-over bead work; Nigeria which featured the photography, sculpture and painting of eight artists; and Italy with Massimo Bartolini’s labyrinth of metal scaffolding and sound machines. The highlights in the themed sections included: Costantino Nivola’s “Bozzetto per lo show-room Olivetti a New York”, 1953, plaster casting on sand and polychromy; Dalton Paula’s “Chico Rei”, 2024, gold leaf and oil on canvas; Pacita Abad’s “You Have to Blend In, Before You Stand Out”, 1995, oil, painted cloth, sequins, buttons on stitched and padded canvas; Fanny Sanin’s ”Oil No. 7”, 1969, oil on canvas; and Kim Yun Shin’s “Add Two Add One, Divide Two Divide One”, 1979, Korean red pine wood.

Piggybacking on the Biennale fanfare, numerous museums and converted palazzos and churches also staged wonderful shows all over the city. Stops included: The Peggy Guggenheim Collection which displayed its permanent collection of 20th century masterworks by leading European and American artists; the “William de Kooning and Italy” exhibit at Galerie dell’Accademia di Venezia; Pierre Huyghe’s “Liminal” at Punta della Dogana; Julie Mehretu’s “Ensemble” at Palazzo Grassi; the “Beati Pacifici: The Disasters of War and the Hope for International Peace” from the Bailey Collection at Chiesa San Samuele; and Berlinde De Bruyckere’s “City of Refuge III” installation at the Abbazia di San Giorgio Maggiore. Particularly memorable were: Pierre Huyghe’s “Offspring”, 2018, sensor based self-generative system for sound and light; Julie Mehretu’s “Among the Multitude XIII”, 2021-2022, ink and acrylic on canvas (48 x 60 in.) and “Black City”, 2007, ink and acrylic on canvas ( 120 x 192 in.); and magnificent de Kooning statues, including “Cross-Legged Figure”, 1972, bronze (edition of 7 plus 3 AP) and “Clamdigger”, 1972, bronze (edition of 7 plus 3AP). As for the Bailey and De Bruyckere exhibits, both were eerie and beautiful and set in surreal repurposed church spaces which were worth seeing on their own.

Meanwhile, crunch time hoops were being played in the new world. Regrettably Crazy Eyes and his Pacers were efficiently ousted by the Celtics, and with that, Dino fans on the legacy bandwagon were left a bit short of reliving glory days through the success of former players. The show nonetheless must go on, and the finals will tip off featuring the dominant Celtics and the surprising Mavericks and arguably the best guard matchups in the game. As for the Dinos, the focus turns to the upcoming draft and planning for next season. As of yet, neither Crazy Eyes nor OG-Wan Kenobe have signed with the teams they were traded to, and, by now, they surely must realize that change is overrated. So maybe, just maybe, is a return to Jurassic Park a possibility? Highly unlikely. The Biennale runs through November 2024. With the next edition two years away, it would be great if the Dino rebuild was on the same timeline, but that’s probably being a bit too optimistic. The next few years will truly test the mettle of fans.

For more information on the Biennale, the other exhibits and the ongoing Raptor reset, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

Just back from action-packed Frieze art week festivities in the Big Apple which featured stops at Future Fair, Nada New York and Frieze New York. The art fair spree dovetailed nicely with the launch of the major post-war, contemporary, and modern auction previews scheduled for later this month at Sotheby’s, Christie’s and Phillips. The fairs and auction previews together served up fantastic art viewing opportunities for art fans and aficionados alike. And, as if that wasn’t enough given the mere 24 hours of viewing time on hand, serendipity delivered the icing on the cake with the timely opening of Tammi Campbell’s marvelous gallery exhibit of recent paintings and sculptures.

The Fairs

Frieze New York was the marquee fair, and it celebrated its 12th year as part of the cultural landscape in the city and its fourth outing at The Shed since relocating from Randall Island. The evolution of the fair since then has been considerable. From a corporate perspective, it is now part of famed Ari Emanuel’s sports and entertainment conglomerate, and, on the art front, the offering got slicker and more rarefied, featuring top-tier highly curated contemporary galleries and works. This year’s boutique-sized edition of 65 or so exhibitors included global mega galleries and international and local blue chippers. Standout works included: Nate Lowman’s “Golf Course Marilyn”, 2024, oil and alkyd on linen (50 x 30 in.); Uri Aran’s “Everything (Timeline)”, 2023, gesso, acrylic, oil, oil pastel, graphite, wood stain, clear polyurethane, charcoal, color pencil, china marker, and mixed media on canvas (87.25 x 42 x 1.5 in.); and, Richard Aldrich’s “Untitled”, 2022, oil and wax on panel (20.5 x 13.13 in.).

NADA New York has long been synonymous with contemporary and emerging art, and the fair continued to build on its reputation as being the go-to event for up-and-coming galleries. For this year’s edition, over 92 galleries, art spaces and non-profit organizations convened in the heart of Chelsea to showcase their stars, including, remarkably, 34 first time presenters. The show highlights included: a pair of works by Shaan Syed “Gorilla, Geurilla” and “To, Too, Two”, 2023, oil and paper collage on linen (35.3 x 31.5 in., each); Emma Schwartz’s “Thought You Should Know (again)”, 2024, oil, charcoal and chalk pastel on canvas (68 x 48 in.); and, Jule Korneffel’s “Alex’s Garden”, 2023, acrylic on canvas (82 x 80 in.).

Future Fair, on a relative basis, was the newest kid on the block, yet the four-year old upstart exuded a palpable vibe and excitement. With a focus on emerging galleries, the contemporary art fair featured over 100 artists from 26 countries, collaborating with over 60 local and international art dealers. Collectively creating a very accessible environment, the artists, works, and gallerists fostered a strong sense of engagement with fairgoers. Highlights included: Gwen Hardie’s assembled triptych “05.29.23”, pure venetian red and naples yellow on indian red, “09.15.23”, darkest cadmium red on indian red and “06.19.23”, lavender on warm umber (24 x 24 in., each); Beck Lowry’s “Red Threat (after Aseem)”, 2023, painted weaving on handmade wooden armature (plywood, crochet thread, oil paint) (12.5 x .75 x 1 in.); and Carolyn Case’s “Night Kitchen”, 2024, chalk pastel on pastel card with artist frame, ceramic porcelain and glaze (17 x 20 in.).

The Auction Previews

The previews for the prominent spring edition of the post-war, contemporary, and modern art auctions at Sotheby’s, Christie’s and Phillips opened to the public and welcomed everyone from the most serious global big hitters gearing up to shell out whatever it takes to walk home with a masterwork to casual and ardent fans savoring the opportunity to look at phenomenal works before they again disappear into private collections. As always, the previews were masterfully staged in wonderful spaces. Supersized showstoppers included: Andy Warhol’s “Flowers”, 1964, acrylic, fluorescent paint and silkscreen ink on linen (82 x 82 in.); Frank Stella’s “Lettre sur les sourds et muets II”, 1974, synthetic polymer paint on canvas (140.88 x 140.88 in.); Felix Gonzalez-Torres’ “(Untitled) America #3”, 1992, 42 light bulbs, porcelain light sockets and electrical cord (length 504 in.); and, Rashid Johnson’s “Anxious Red Painting September 24th”, 2020, oil on linen (72.25 x 96.25 in.). Beyond the headliners, marvelous less conspicuous works were sprinkled throughout. Memorable ones included: Brice Marden’s “Small Parchment Study #1”, 1999, oil on natural vellum stretched over plywood; Henry Taylor’s “Cruel Kids”, 2005, acrylic on canvas (28.5 x 28 in.); and Agnes Martin’s “Earth II”, 1959, oil on canvas (71.33 x 48 in.).

Tammi Campbell Exhibit

In between fairs and auction previews, Tammi Campbell’s As Long As It Lasts exhibit kicked off and featured a walk through with the artist who provided fascinating insights into her practice and the specifics about works on view. With the continuous evolution of her creative re-engineering processes and next gen wrappings, Campbell continued to push appropriation to new heights, all while making the work uniquely her own. Highlights included: the Cy Twombly inspired “Untitled (1970)”, 2024, chalk on blackboard with walnut frame (48.75 x 59.25 x 1.4 in.); and a replica of a famous Andy Warhol work with a twist “Double Elvis (Ferus Type) with Bubble Wrap and Packing Tape”, 2024, acrylic on canvas (81.25 x 58.25 x 1.25 in.).

As spirited art week festivities unfolded across the city, local sportsfans were also whipped up into a frenzy as both their hometown Rangers and Knicks advanced to the second round of their respective playoff series. On the hoops front, with the Knicks now set to tip off against the Pacers, Dino fans can also partake in some playoff excitement (by extension) as former Raptor stars Pascal Siakam and OG Anunoby, sporting Pacers and Knicks uniforms, respectively, are pitted against each other. The exuberance of “Crazy Eyes” versus the zen of “OG-Won Kenobe” - one of the two will get to the conference finals which should provide some solace and maybe even bring a smile to Dino nation.

For more information on any of the artists or works mentioned, the upcoming auctions, and the fate of former Dino stars, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.