In fact, she is uniquely capable of helping clients not only find the art for their homes but to advise them on contemporary artists and elements of the market. Chicago-based, internationally known designer Suzanne Lovell is no exception. Her artistic ship sails some of the deepest waters around.Contemporary design professionals usually waste no time deflating that old adage that your art should match your drapes. Like art critic Jerry Saltz so precisely put it, “ Klint created her own optical language with visual, chromatic, structural, and narrative syntax. Ultimately, her work was all but unseen until 1986, and only over the subsequent three decades have her paintings and works on paper begun to receive serious attention. She rarely exhibited them and, convinced the world was not yet ready to understand her work, stipulated that it not be shown for twenty years following her death. Yet while many of her better-known male contemporaries published manifestos and exhibited widely, af Klint kept her groundbreaking paintings largely private. It was years before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, would take similar strides to rid their own artwork of representational content. When Hilma af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from any recognizable references to the physical world. I know the kind of impact that will have on their lives because I was one of those girls”. At the unveiling, the president noted that Sherald’s portrait of the First Lady captures “the grace and beauty and intelligence and charm and hotness of the woman that I love.” And as The First Lady said at the unveiling, Sherald’s work will have impact on girls of color: “They will see an image of someone who looks like them hanging on the wall of this great American institution. The portrait of Michelle Obama is by Amy Sherald. Explaining his choice of Wiley, the former president said, “What I was always struck by when I saw his portraits was the degree to which they challenged our ideas of power and privilege.” Wiley depicts African blue lilies, jasmine, and chrysanthemums to represent and map Obama’s journey from Kenyan roots, to Hawaii, to the official flower of Chicago. The president’s portrait is by Kehinde Wiley, a big star on the art scene. But both of these artists rose to the occasion and delivered big. To execute the commissions of the official Obama portraits is an almost impossible task. The Obama portraits were all over Instagram this year, and with good reason. We are not surprised when Knight Landesman gropes us in the art fair booth while promising he’ll help us with our career. We are not surprised when we are retaliated against for not complying. We are not surprised when a meeting with a collector or a potential patron becomes a sexual proposition. We are not surprised when gallerists romanticize, minimize, and hide sexually abusive behavior by artists they represent. The letter condemned art institutions that claimed the rhetoric of feminism and equity in theory while preserving oppressive and harmful sexist norms in practice: “ We are not surprised when curators offer exhibitions or support in exchange for sexual favors. After Knight Landesman resigned as co-publisher of Artforum in late 2017, thousands of women in the art world, including Barbara Kruger and Cindy Sherman, signed an open letter posted to the website of a new feminist group called We Are Not Surprised, inspired by Jenny Holzer’s iconic work Abuse of Power Comes as No Surprise. But the movement and protests lasted well into 2018. The #metoo of the art world actually started in 2017, in the wake of numerous sexual harassment allegations against longtime Artforum co-publisher Knight Landesman. The buyer commented: “When the hammer came down last week and the work was shredded, I was at first shocked, but gradually I began to realise that I would end up with my own piece of art history.” The artist defended the shredding with a quote from Picasso: “The urge to destroy is also a creative urge.” The new work has been granted a certificate by Pest Control, Banksy’s authentication body, and has been given a new title, Love is in the Bin. Seconds after the hammer fell, however, part of the canvas passed through a hidden shredder, and in the process of ‘destroying’ the artwork, a new one was created. The final lot of the sale - Banksy’s Girl with Balloon - was in the midst of an intense bidding battle from buyers in the room and on the phones. But the stunt at the famous auction house in October most definitely made a big stir on the art scene and in social media. It might be controversial in itself to claim that Banky’s self destructing painting at Sotheby’s in October is actually 2018’s most controversial work of art.
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