darek kondefer ^(hermit)
selected works

History of Art Basel

The inaugural modern art fair debuted in Basel, Switzerland in 1970, founded by Swiss gallery owners Ernst Beyeler, Trudl Bruckner, and Balz Hilt. Seeking to attract a fresh audience of art enthusiasts and collectors, the event garnered over 16,000 visitors and quickly became a sensation in the art world. Recognizing its success, organizers saw the opportunity to expand the fair globally, showcasing a diverse collection of contemporary art.

During the early 2000s, Art Basel's organizers shifted their attention to Greater Miami & Miami Beach, known for its vibrant multicultural atmosphere. Encouraged by the city's potential and backed by local leaders and private collectors, Art Basel introduced its first sister fair, Art Basel Miami Beach, in 2002. This expansion marked a significant milestone in the world of art, as it brought a new platform for modern art collection and gallery exhibitions to the United States.

In its first year, 160 galleries from 23 countries exhibited their modern art collections at the fair, attracting 30,000 attendees. Art Basel Miami Beach offered a unique opportunity for art enthusiasts to mingle with the elite while enjoying the vibrant atmosphere that only Miami can provide. Visitors were able to purchase world-class works of art and immerse themselves in glittery parties and celebrity sightings, blending a sun-soaked vacation with their appreciation for art.

Multiple key figures played vital roles in bringing Art Basel to Miami Beach. Norman Braman, a prominent member of Miami's art scene, played a crucial part in convincing the prestigious Swiss art fair to consider expanding to Miami. As a car dealer and art collector, Braman had established strong relationships with fair officials through his art purchases at the Swiss fair. Mera and Don Rubell, known for their impressive personal art collection showcased at the Rubell Museum, also played a significant role in attracting Art Basel to Miami Beach. Other private collectors, such as Martin Margulies of The Margulies Collection at the Warehouse, also contributed to the effort to bring the world-renowned art fair to Miami Beach.

Darek Kondefer exhibits at Artexpo New York.

My reflections on art, collectors, marchers and contemporary art auctions

ENGLISH: Former Stedelijk director Beatrix Ruf oversees new fund that will donate works to the Netherlands. Jessica Bell Brown Associate Curator for Contemporary Art. Carla Camacho, Partner, Lehmann Maupin. Sadie Coles opened her gallery in London’s West End in 1997. Curator Fatoş Üstek. Dove of peace. Nicolas Berggruen collector Contemporary art; Modern art
GERMAN: Die ehemalige Stedelijk-Direktorin Beatrix Ruf leitet einen neuen Fonds, der Werke an die Niederlande spenden wird. Jessica Bell Brown Assoziierte Kuratorin für zeitgenössische Kunst. Carla Camacho, Partnerin, Lehmann Maupin. Sadie Coles eröffnete ihre Galerie im Londoner West End im Jahr 1997. Kuratorin Fatoş Üstek. Taube des Friedens. Nicolas Berggruen Sammler Zeitgenössische Kunst; Moderne Kunst

Record for Marilyn

At Christie's in New York, Andy Warhol's "Shot Sage Blue Marilyn" fetched $195 million: the second most expensive work of art ever sold at auction

It wasn't the big party last night, not a triumph that was jubilantly celebrated in the hall like in November 2017 at the auction of the "Salvator Mundi" , which achieved an incredible 450 million dollars. In the Christie's New York room, of course, when Andy Warhol's 1964 "Shot Sage Blue Marilyn" was called up, everyone had hoped for a similar display of bids. Although the catalog and the website stated succinctly "Price on request", it was communicated all over the world that 200 million dollars were expected for the screen printing. It was the highest estimate ever called at auction. The “Salvator” was set at 100 million.

Shortly after 2:30 a.m. German night time, Jussi Pylkkänen, President of Christie's and there the auctioneer for the most spectacular auctions, called the bidding battle for the work from the legendary collection of Doris and Thomas Ammann. 100 million was the first name mentioned in the hall, which was received with some amusement in the audience. Then it quickly went to 160 million, where it faltered. Three phones were still involved. After some hesitation on the part of the last bidders, it went up to 170 million, then it remained silent despite all attempts by Pylkkänen to animate the auction. After four minutes the gavel fell. It is said that the bid went to art dealer Larry Gagosian.

So the 200 million mark was not cracked as hoped, but with all premiums the buyer still has to pay more than an impressive 195.04 million dollars. This makes it the second most expensive artefact ever auctioned and the most expensive work of the 20th century. A thoroughly monumental success, even if those involved had speculated on an even bigger sensation. It can be interpreted in different ways: Either Christie's was too ambitious and excessive in its expectations and overestimated the possibilities of this world-famous trophy. Or the exaggerated estimate was deliberately used to free "Marilyn" from the previous top Warhol surcharges of 94 million (2013) and 73 million dollars (2014) and to drive it into new spheres.

The question of how justified such a price is for this picture can also be debated. Warhol had screenprinted this photograph of Marilyn Monroe several years earlier as a representation of ultimate stardom. In 1964 he improved the technique and the color composition, which he varied in four versions. In the same year, during a visit to Warhol's studio (the "Factory"), the artist Dorothy Podber shot the four pictures leaning against the wall one behind the other. The damage could be retouched, but the wound boosted legend building. The four "Shot Marilyns" became the most valuable trophies among the works that Warhol kept reprinting from the photo template.

There is no doubt that it is Warhol's most famous motif, it has shaped the collective visual memory of our time like no other modern work of art. The pop Marilyn was reproduced millions of times and distributed in posters, mugs and other accessories - entirely with the permission and to the delight of the artist. There is not one original of this representation, but many or at least several, which are not exhausted with the four "Shot Marilyns". That's why the comparisons to Leonardo's "Mona Lisa", Botticelli's "Venus" or even Greek Aphrodite statues, which Christie's used in its pseudo-art historical marketing, are not very appropriate.

In contrast to the "Salvator Mundi", which is only so famous today because of the completely exaggerated record price, yesterday's auction will only be one facet, maybe just a small anecdote, in the history and afterlife of Warhol's "Marilyn". She has much more to offer.