Eliot and I walked around Art Basel and some of the other art fairs last week (Untitled, Design Miami, Art Miami and Scope) thinking that the exhibitors were going to be somewhat disappointed with their sales results this year. We saw some of the galleries that we know fairly active while others admitted that they lost money exhibiting. 

I was stunned when I read Artsy a few days ago which reported, that there was a healthy number of galleries who sold paintings in the millions. Artsy is a newsletter about the world’s emerging and established artists. They make it easy for new and experienced collectors to discover, buy, and sell art. Everything you’ll ever need to collect art, you’ll find on Artsy

I am giving you the list of activities from Artsy because it’s a good one to reference for your own interest and also to have when talking to others about the artists that did well this year. You will sure to impress others. 

Artsy

What Sold at Art Basel Miami Beach 2024

By Maxwell Rabb

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Art Basel registered more than 75,000 visitors this year, down from last year’s reported attendance figure of 79,000).

There were 286 galleries from 28 countries—up from last year’s 277—and included 34 first-time exhibitors, the largest batch of newcomers in over a decade. South and Central America had a strong showing, with 19 galleries from Brazil alone. 

Leading the reported sales was Hauser & Wirth, which sold David Hammons’s Untitled (2014) for $4.75 million during the VIP preview on Wednesday. 

Several galleries also secured seven-digit sales during the art fair’s first VIP day, including Thaddaeus Ropac, David Zwirner, and White Cube. Meanwhile, the City of Miami’s Legacy Purchase Program, now in its fifth year, acquired Nina Surel’s ceramic wall installation, presented by Spinello Projects—one of Artsy’s best booths from the fair.

Top sales at Art Basel Miami Beach 2024

Hauser & Wirth reported several seven- and six-figure sales, including: 

• George Condo’s Female Portrait Abstraction (2024) for $2.5 million.
• Ed Clark’s Untitled (1986) for $1.4 million and Untitled (1986–87) for $1 million.
• Charles Gaines’s Numbers and Trees: Tanzania Series 1, Baobab, Tree #4, Maasai (2024) for $795,000.
• Rashid Johnson’s Soul Painting “Honey” (2024) for $750,000.
• Christina Quarles’s And I Moon (2024) for $750,000.
• William Kentridge’s Goat (2021) for $585,000.
• Avery Singer’s Untitled (2024) for $575,000.
• Jeffrey Gibson’s I can hear you (2024) for $500,000
• Firelei Báez’s When We Seize to Understand (Premiere Carte Pour L’Introduction A L’Histoire Du Monde) (2024) for $375,000.
• Catherine Goodman’s Scarlet Shig (2023) for $200,000.
• Nairy Baghramian’s Treat (2016) for €175,000 ($185,000).
• Allison Katz’s Big Cat (2024) for $175,000.
• María Berrío’s Distant Gods and Aging Suns (2024) for $160,000.
• Michaela Yearwood-Dan’s Chimera (2024) for $150,000.
• Günther Förg’s Untitled (2005) for €110,000 ($116,000).
• UMAN’s Red (2024) for $100,000.
• Works by Ambera Wellmann and Camille Henrot sold for five-figure sums. 

David Zwirner’s sales were led by a $3.5 million painting by Yayoi Kusama. Other sales reported by the gallery included: 

• A painting by Noah Davis for $2 million. 
• Two paintings by Lisa Yuskavagefor $600,000 and $1.4 million, respectively. 
• Two paintings by Elizabeth Peytonfor $900,000 and $1.1 million apiece. 
• Two paintings by Josef Albers for $600,000–$800,000 each. 
• “Multiple” works by Raymond Pettibon each sold for $100,000–$450,000. 
• A painting by Oscar Murillo for $400,000. 
• A photograph by Wolfgang Tillmans for $250,000. 
• Three sculptures by Andra Ursuțafor $220,000 apiece. 
• A painting by Katherine Bernhardtfor $180,000.

Thaddaeus Ropac’s sales were led by Georg Baselitz’s Dresdner Frauen – Die Elbe (1990/2023), which sold for €2.5 million ($2.64 million). 

Other sales reported by the gallery included: 

• Robert Rauschenberg’s Everglade (Borealis) (1990) for $2.3 million.
• Baselitz’s Die Seine, die Seine, die Seine (2023) for €1.2 million ($1.26 million).
• Sturtevant’s Flag after Jasper Johns (1967) for $1.1 million.
• Andy Warhol’s Hammer and Sickle(1976) for $750,000.
• Robert Longo’s Untitled (F-16 American Jet for Ukraine Ascending)(2024) for $650,000.
• Antony Gormley’s SUSPECT(2024) for £500,000 ($638,000).
• Martha Jungwirth’s Ohne Titel, aus der Serie “Francisco de Goya, Stillleben mit Rippen und Lammkopf” (2022) for €430,000 ($454,000), Ohne Titel, aus der Serie “Australidelphia” (2020) for €420,000 ($444,000), and Ohne Titel (2022) for €310,000 ($327,000).
• Daniel Richter’s Mausefalle des Gewissens (2023) for €420,000 ($443,000).
• David Salle’s New Pastoral, Floral Dress (2024) for $350,000.
• Tom Sachs’s Portrait de Dora Maar(2024) for $190,000.
• Other works by Jungwirth, Longo, Joan Snyder, and Erwin Wurm sold for five-figure sums. 

David Hammons

Rock Head, 2000

White Cube

Ilana Savdie

Revenge Fantasies, 2024

White Cube

White Cube’s reported sales were led by David Hammons’s Rock Head(2000) for $2.35 million. 

Other sales reported by the gallery included: 

• Christine Ay Tjoe’s Mischievous Player (2016) for $1.15 million.
• Lynne Drexler’s Tribute (1963) for $800,000 and Final Flowers (1963) for $725,000.
• Julie Mehretu’s Untitled (1999) for $525,000.
• Antony Gormley’s OPEN STRESS II (2023) for £500,000 ($528,000).
• Sylvia Snowden’s Clarene Martin(1978-82) for $450,000.
• Danh Vo’s Untitled (2024) for €400,000 ($423,000).
• Howardena Pindell’s Deep Sea #3(2024) for $325,000.
• Etel Adnan’s Untitled (2020) for $300,000.
• Ilana Savdie’s Revenge Fantasies(2024) for $175,000.
• Cinga Samson’s Nincede nikhawuleze (2024) for $155,000.
• Park Seo-Bo’s Ecriture No.221107(2022) for $140,000.
• Julie Curtiss’s Mary with the Medela (2024) for $100,000.
• Works by Sara Flores, Marguerite Humeau, and Gabriel Orozco also sold for five-figure sums. 

Pace Gallery’s reported sales were led by Sam Gilliam’s Whispering Wind(1972), which sold for $1 million. Other sales reported by the gallery included:

• Lee Ufan’s Response (2024) for $900,000.
• Longo’s Untitled (Othello) (2024) for $550,000.
• Adam Pendleton’s Black Dada (B)(2024) for $450,000.
• Emily Kam Kngwarray’s Untitled(1992) for $450,000.
• Elmgreen & Dragset’s The Guardian (2023) for $425,000.
• Ed Ruscha’s Merc Montclair (1994) for $300,000.
• Adolph Gottlieb’s Imaginary Landscape (1955) for $250,000.
• Tara Donovan’s Stratagem XVI(2024) for $225,000.
• Robert Indiana’s ART (Red Blue)(1972/1999) for $195,000.
• Michal Rovner’s Glass Flowers II(2024) for $175,000.
• Li Songsong’s Dragon Year (2024) for $150,000.
• Peter Alexander’s 10/13/17 (Blue Black Needle) (2017) for $150,000.
• Leo Villareal’s Golden Game (2024) for $125,000.
• Mika Tajima’s Art d’Ameublement (Oparo Island) (2024) for $120,000.
• Kylie Manning’s Hold the earth above me (2024) for $110,000.
• Nigel Cooke’s Rosa’s Version(2024) for $110,000.
• Works by Torkwase Dyson, Irving Penn, Loie Hollowell, Alejandro Piñeiro Bello, Li Hei Di, and Genesis Belanger also sold for five-figure sums. 

Kasmin’s sales were led by Mark Ryden’s Regina Terra (#179) (2024) for $1.5 million. Other sales reported by the gallery included: 

• Claude and Francois Xavier Lalanne’s Centaure (moyen) (1995/2008) for €695,000 ($735,000).
• François-Xavier Lalanne’s Requin (petit) (2003/2011) for €420,000 ($444,000).
• Andy Warhol’s Mrs. Vardinoyannis (1983–84) for $300,000.
• Robert Motherwell’s The Green Beside the Sea (1966) for $150,000.
• Jamie Nares’s Make it a Thing(2024) for $115,000.
• Works by Diana Al-Hadid, Bosco Sodi, Ian Davenport, Sara Anstis, Alexis Ralaivao, Jan-Ole Schiemann, Salvador Dalí, Jimmy Ernst, and Alexander Harrison also sold for five-figure sums. 

Mennour’s sales were led by Lee Ufan’s Response (2024) for €1 million ($1.05 million). The gallery also reported the following sales:

• Three works by Anish Kapoor for £675,000, £500,000, and £200,000 apiece ($862,000, $638,000, and $255,000, respectively).
• Keith Haring’s Untitled (Brasil)(1986) for $650,000.
• Three works by Ugo Rondinone for €110,000 ($116,000) apiece. 
• Alicja Kwade’s Principium (2023) for $90,000.
• Dhewadi Hadjab’s Untitled (2024) for €80,000 ($84,000)
• Francis Picabia’s Sans titre (ca. 1940) for €65,000 ($68,000)

MASSIMODECARLO’s sales were led by a work by Jennifer Guidi for “around” $300,000. Other sales by the gallery included:

• A work by Yan-Pei Ming for “around” €270.000 ($284,728)
• A work by Jonathan Gardner for a price between $150,000–$200,000.
• A pair of works by Rob Pruitt for $150,000 apiece. 
• A work by Jenna Gribbon for a price between $150,000–$200,000.
• The gallery also sold works by artists including Stephanie Temma Hier, Aaron Garber-Maikovska, Ferrari Sheppard, Xiyao Wang, Lily Stockman, Ludovic Nkoth, Shannon Cartier Lucy, Austyn Weiner, Hannah Levy, andBrian Rochefort for five-figure sums.

Almine Rech’s sales were led by a work by Tom Wesselmann, which sold for a price in the range of $1.25 million–$1.5 million. Other sales reported by the gallery included: 

• A work by Larry Poons for a price in the range of $180,000–$200,000.
• A work by Nathaniel Mary Quinn fir a price in the range of $130,000–$150,000.
• A work by Alejandro Cardenas for a price in the range of $85,000–$100,000.
• The gallery also sold works by works by Daniel Gibson, Sylvia Ong, Zio Ziegler, and Carlos Jacanamijoy for five-figure sums.

Lisson Gallery’s reported sales were led by Lee Ufan’s Response (2024) for $850,000. Other sales reported by the gallery included: 

• Anish Kapoor’s Cobalt Blue to Mipa Blue 5 to Clear (2021) for £775,000 ($991,000), and Cobalt Blue to Mipa 5 (2024) for £700,000 ($895,500).
• Sean Scully’s Wall Red Pink (2024) for $675,000 and Small Cubed 10(2021) for $250,000. 
• Carmen Herrera’s Habana Series #11 (1951) for $500,000.
• Hélio Oiticica’s Untitled (1955) for $400,000, and Untitled (1958) for $180,000.
• Tony Cragg’s Incident Upwards(2022) for €300,000 ($317,000).
• Hugh Hayden’s Skittles (2024) for $160,000.
• John McCracken’s Untitled (1981) for $150,000.
• Tunga’s Untitled (Steel Pod Series)(2013) for $120,000.
• Leiko Ikemura’s Peace in Spring(2020) for €110,000 ($116,000).
• Hiroshi Sugimoto’s Sea of Buddha 007 (1995) for $100,000.
• Works by Ikemura, Hayden, Tony Bechara, Joanna Pousette-Dart, Kelly Akash, Laure Prouvost, and Van Hanos also sold for five-figure sums. 

Galleria Continua’s sales were led by Carlos Cruz-Diez’s Physichromie 637(1973) for $695,000. Additional reported sales from the gallery included: 

• Ai Weiwei’s Pillar (2006) for $300,000.
• Michelangelo Pistoletto’s Color and Light (2023) for $200,000. 
• Yoan Capote’s Isla (umbra) (2024) for $175,000. 
• Works by Eva Jospin and Loris Cecchini also sold for five-figure sums. 

Xavier Hufkens’s sales were led by a painting by Nicolas Party for “approximately” $600,000. The gallery also sold the following: 

• Three editions of a sculpture by Tracey Emin for £375,000 ($478,000) each.
• A painting by Qiu Xiaofei for $360,000.
• A work by Kenneth Price for $325,000.
• A work on paper by Paul McCarthyfor $250,000.
• Three editions of a sculpture by Thomas Houseago for $200,000 each.
• Two works by McArthur Binion for prices randing between $140,000–$250,000.
• A painting by Sayre Gomez for $115,000.
• Two sculptures by Mark Mandersfor €110,000 ($116,000) each.
• Two paintings by Matt Connors for $50,000–$100,000 apiece.
• Further works by Manders, Houseago, and a work by Richard Artschwager also sold for five-figure sums. 

 The Untitled Art Fair 

David Kordansky Gallery’s sales were led by Fred Eversley’s Untitled (cylindrical lens) (2024) for $600,000. Other works sold by the gallery included: 

• Rashid Johnson’s God Painting “The Baths” (2024) for $550,000.
• Shara Hughes’s Orange Groove(2024) for $350,000–$400,000.
• Lesley Vance’s Untitled (2024) for $320,000.
• Lucy Bull’s 15:15 (2024) for $200,000–$250,000. 
• Adam Pendleton’s Untitled (Days) (2023) for $200,000–$250,000.
• Hilary Pecis’s Front Side, Back Side (2024) for $225,000.
• Joel Mesler’s Untitled (Pure Joy) (2024) for $155,000 and Untitled (Joy Hope) (2024) for $125,000. 
• Evan Holloway’s Eyes Open (2019) for $100,000.
• Works by Maia Cruz Palileo, Sam McKinniss, Matthew Brannon, Tristan Unrau, Mai-Thu Perret, Martha Diamond, Evan Holloway, Torbjørn Rødland, Ricky Swallow, and Jared Buckhiester also sold for five-figure sums. 

Nara Roesler’s sales were led by Julio Le Parc’s Mobile losange doré(2024) for €375,000 ($396,000). Other sales reported by the gallery included: 

• Three pieces of Carlito Carvalhosa’s Untitled (P53/20)(2020) for $110,000 each.
• Daniel Senise’s Untitled (Capela Sistina) (2024) for $100,000. 
• Abraham Palatnik’s S-31 (2001) for $60,000.
• Works by Vik Muniz, Artur Lescher, Maria Klabin, Marco A. Castillo, Cristina Canale, Lucia Koch, Xavier Veilhan, Thiago Barbalho Xaxado, and Elian Almeida also sold for five-figure sums. 

Sprüth Magers’s reported sales were led by Richard Artschwager’s Exclamation Point (Yellow) (2001) for $425,000. Other sales reported by the gallery included:

• John Baldessari’s Vertical Series: Fun (2003) for $325,000. 
• Anne Imhof’s Untitled (1pm) (2024) for €250,000 ($264,000). 
• Kara Walker’s Selkie with her Skin on (2024) for $175,000. 
• Louise Lawler’s Three Flags (swiped and moving) (2022) for $95,000. 
• The gallery also reported sales of works by Artschwager, Analia Saban, Hyun-Sook Song, Mire Lee, Karen Kilimnik, and John Watersfor five-figure sums. 

BLUM’s sales were led by a pair of Yoshitomo Nara Untitled works from 2024 for $450,000 apiece. Further sales reported by the gallery included: 

• Ha Chong-hyun’s Conjunction(1984–2019) for $390,000. 
• Roberto Matta’s Untitled (ca. 1990) for $150,000. 
• Aaron Garber-Maikovsk’s Off Ramps Corner Play And Avenues(2024) for $125,000. 
• Friedrich Kunath’s I Tried To Make It Last (2024) for $105,000.
• Works by Tom Anholt, Sebastian Silva, Kenjiro Okazaki, Ryan Sullivan, Sam Moyer, March Avery, Christopher Hartmann, Hiroka Yamashita, Asuka Anastacia Ogawa, Zhu Jinshi, and Agata Słowak also sold for five-figure sums. 

Lehmann Maupin’s sales were led by Teresita Fernández’s Astral Sea 2 (2024) for $375,000. Other works sold by the gallery included: 

• Nari Ward’s Still Livin’ Streamin’ (2024) for $250,000, Restin’ Break (2024) for $200,000, and Medicine Bats (Blue) (2024) for $125,000.
• McArthur Binion’s DNA:Self Portrait (2024) for $250,000. 
• Teresita Fernández’s Silver Screen/30 Dissolves (2011) for $250,000, and Stella Maris(Net) 10(2024) and Stella Maris(Net) 8(2024) for $180,000 apiece. 
• Liza Lou’s each hung bells (2024) for $225,000–$250,000.
• Marilyn Minter’s Left On Red (2024) for $200,000.
• Calida Rawles’s I’ll see you on your way (2024) for $150,000–$200,000.
• Lee Bul’s Perdu CCI (2024) for $190,000.
• Jennifer Steinkamp’s Botanic 1 (2015) for $120,000.
• Billie Zangewa’s A Charmed Life (2024) for $110,000–$120,000.
• Arcmanoro Niles’s Whoever Said Time Heals Everything Still Feels Like a Lie (Maybe 13 Was too Early Maybe 34 is too) (2024) for $100,000–$120,000.
• Works by Ward, Tammy Nguyen, Dominic Chambers, Loriel Beltrán, Todd Gray, Oren Pinhassi, and Tom Friedman also sold for five-figure sums.

Galerie Lelong & Co.’s sales were led by Mildred Thompson’s Radiation Explorations (1994) for “approximately” $275,000. Other sales reported by the gallery included: 

• Jannis Kounellis’s Untitled (1986) for €260,000 ($275,000).
• Kiki Smith’s Her (2003) for €200,000 ($211,000).
• Jaume Plensa’s LUCILLA’S FROZEN DREAMS (2021) for €110,000 ($116,000).
• Sarah Grilo’s Nobody Ever… (1966) for “approximately” $150,000.
• Zilia Sánchez’s Sin título (ca. 2007–08/2023) for “approximately” $150,000 and Lunar Blanco (ca. 2000/2019) for $85,000.
• Works by Plensa, Juan Uslé, Leonardo Drew, Kate Shepherd, Tariku Shiferaw, Christine Safa, and Ficre Ghebreyesus also sold for five-figure sums.

 

Further top sales from Art Basel Miami Beach 2024 included the following: 

• Garth Greenan Gallery reported the sale of four paintings by Howardena Pindell for $875,000–$950,000 each. The gallery also sold a painting by Fritz Scholderfor $650,000, two paintings by Paul Feeley for $350,000 each, four sculptures by Cannupa Hanska Luger for $50,000–$300,000, and one painting by Emmi Whitehorse for $225,000.
• Berry Campbell’s sales were led by Lynne Drexler’s Contained Waters (1969) for $500,000 and Sonia Gechtoff’s Lover’s Feast (1960) for $450,000. The gallery also sold works by Yvonne Thomas, Janice Biala, Alice Baber, Beverly McIver, Dorothy Dehner, and Betty Parsons for five-figure sums.
• Casey Kaplan’s sales were led by Jordan Casteel’s Nina (2024) for $450,000 and Brian Jungen’s Arms Open Wide (2024) for $150,000. The gallery also sold works by Igshaan Adams, Judith Eisler, Matthew Ronay, Matthew Brannon, and Johanna Unzueta for five-figure sums. 
• Tornabuoni Art sold Alighiero Boetti’s Aerei (1988) for $350,000–$400,000 and Alberto Biasi’s Tutti si muovono con te 9 (2021) for $120,000.

Mai 36 Galerie’s sales were led by H.R. Giger’s Necronom / Alien III(1990–2005) for $1 million. Other sales at the gallery included: 

• Flavio Garciandía’s Suaves desesperos (2010) for $75,000 
• A pair of works by Michel Pérez Pollo for $65,000 and $30,000 apiece.
• A work by Koenraad Dedobbeleerfor $24,000.
• A work by Jack Warne for $20,000.

 

Perrotin’s sales were led by Lee Bae’s Issu du feu-27cd (2004) for $175,000–$200,000. The gallery also sold other works, including: 

• Daniel Arsham’s The Discovery of the Eroded Head of Zeus and the Bust of Flora (2024) for $100,000–$125,000.
• Jason Boyd Kinsella’s Christophe(2024) and Live (2024), each for $100,000–$120,000.
• Bernard Frize’s Raste (2024) for $100,000–$120,000.
• Its solo presentation of works by Danielle Orchard sold out, which included five paintings priced in the range of $45,000–$100,000 apiece. 
• Works by Jean-Michel Othoniel, Gregor Hildebrandt, Nick Doyle, JR, Paola Pivi, and Vivian Greven also sold for five-figure sums. 

Timothy Taylor’s sales were led by a painting by Hilary Pecis, which sold for $180,000. The gallery also sold: 

• A painting by Paul Jenkins for $170,000. 
• A sculpture by Annie Morris for €155,000 ($163,000). 
• A painting by Eddie Martinez for $125,000. 
• A painting by Sean Landers for $110,000. 
• Works by Jenkins, Paul Anthony Smith, Eduardo Terrazas, Hayal Pozanti, Chris Martin, Annie Morris, Michel Pérez Pollo, Patrick Martinez, and Alicia Adamerovichfor five-figure sums. 

 

• Galerie Nordenhake’s sales were led by Stanley Whitney’s Blue Conversation (2024) for $650,000 and Elena Damiani’s Testigos II (after A. Aalto) (2024) for $85,000. The gallery also sold works by Damiani, Patricia Treib, Ryan Mrozowski, Paul Fägerskiöld, Frida Orupabo, Ryan Mrozowski, and Sarah Crowner for five-figure sums. 
• Cardi Gallery’s sales were led byRoberto Matta’s Ecce Fumo (1973) for $290,000 and Carla Accardi’s Omaggio a Matisse (1964) for €140,000 ($148,000). The gallery also sold a trio of works by Davide Balliano for €50,000, €40,000, and €30,000, respectively ($52,800, $42,200, and $31,000).
• Tina Kim Gallery’s sales were led by two Ha Chong-hyun paintings, which each sold for $250,000–$390,000 each. The gallery also sold a work by Kwon Young Woofor $80,000–$150,000 and a work by Kibong Rhee for $75,000–$100,000. Works by Gimhongsok, Suki Seokyeong Kang, Lee ShinJa, Jennifer Tee, Tania Perez Cordova, and Mire Lee also sold for five-figure prices. 

• Eric Firestone Gallery’s sales were led by a work by Miriam Schapirofor $275,000. The gallery also sold six works by Huê Thi Hoffmasterfor $30,000–$70,000 and a work by Seffa Klein for $40,000. Additionally, the gallery also sold out its presentation of works by Lauren dela Rocheand two works by Paul Waters. 
• RYAN LEE sold Herbert Gentry’s Le Jardin (1960) for $145,000 and two additional works by the artist for $22,000 and $18,000 apiece. 
• Templon’s sales were led by two Omar Ba works which each sold for $40,000–$120,000 apiece. The gallery also sold two works by ROBIN KID A.K.A. THE KID for $35,000–$100,000, and five works by Chiharu Shiota for €16,000–€120,000 ($16,900–$126,000) each

• Goodman Gallery sold “several” William Kentridge works for prices ranging from $30,000–$550,000. The gallery also sold a work by Carrie Mae Weems for $180,000 and works by Yinka Shonibare for prices ranging from £150,000–£225,000 ($191,00–$287,000). Other sales included “several” works by Kapwani Kiwanga for prices ranging from €60,000–€115,000 ($63,000–$121,000).
• Gavlak’s sales were led by two “historical” works by Judy Chicagofor a combined total of $150,000 and a Cecily Brown monotype for $125,000. The gallery also sold a painting by Robert Peterson, two paintings by Kris Knight, and a new work on paper by Jose Alvarez for five-figure sums. 
• Michael Kohn Gallery’s sales were led by Lita Albuquerque’s She has shifted scales on the planet, so can we see (2021) for $125,000 and Nir Hod’s 100 Years is Not Enough(2024) for $90,000. The gallery also sold works by Hod, Mark Innerst, and William Brickel for five-figure sums. 
• Wentrup’s sales were led by a painting by Phoebe Boswell for $100,000 and a sculpture by Nevin Aladag for $72,000. The gallery also sold works by Boswell and Desire Moheb-Zandi for five-figure sums

• Jessica Silverman’s sales were led by Beverly Fishman’s Independence, Fitness, Relaxation, Energy, Confidence, Peace (2024) for $95,000 and Hayal Pozanti’s Her Summer Dreams (2024) for $65,000. The gallery also reported the sales of a work by Guimi Youfor $56,000, Fishman for $55,000, Rupy C. Tut for $50,000, Julie Buffalohead for $48,000, Masako Miki for $45,000, and a pair of works by Davina Semofor $42,000 apiece. Other sales reported by the gallery included works by Pae White, Catherine Wagner, Woody De Othello, Atsushi Kaga, Sadie Barnette, Julia Chiang, Chelsea Ryoko Wong, and Emma Cousinfor prices ranging from $14,000–$42,000 apiece.
• Gallery Baton sold Koen van den Broek’s W Silver Dr (2024) for €44,000 ($46,000), Yuichi Hirako’s Lost in Thought 220 (2024) for $46,000, and Suzanne Song’s Constant Dawn (2024) for $38,000.

• Anat Ebgi—one of Artsy’s best booths from the fair—led sales with Marisa Adesman’s June Drop (2024) for $95,000. Other sales reported by the gallery included Jenny Morgan’s Wilderness Escape (2024) for $62,000, Jordan Nassar’s Whence Four Rivers I-VI (2024) for $56,000 for each embroidery, and Karyn Lyons’s The Insomniacs (2024) for $52,000. The gallery also sold further works by Lyons, Soumya Netrabile, Alec Egan, Meeson Pae, Caleb Hahne Quintana, Krzysztof Strzelecki, Gideon Rubin, and Jessica Taylor Bellamy for prices ranging from $8,000–$38,000 apiece. 
• Richard Saltoun reported the sale of four works by Greta Schödl for prices ranging from $5,000–$25,000 apiece. Charles Moffett—another of Artsy’s best booths from the fair—sold four sculptures by Kim Dacresfor $7,000–$35,000 each and four works by Melissa Joseph for $10,000–$20,000 each

The reason I am posting this story from Variety is because Jamie Foxx hosted a party for my client HandL in Las Vegas during the 2019 CES. It was the most outrageous party ever. Jamie went all out for HandL owner Allen Hirsch. Jamie acted like a DJ at a wedding all night long singing and dancing with everyone.

We couldn’t believe our eyes that a major celeb like Jamie would give so much of himself to the crowds that showed up that night.

Just ask writer/singer extraordinaire Dan Rosenbaum. Dan sang several songs with Jamie and we were all in disbelief that this was happening. Client Allen Hirsch, owner of HandL, had record breaking sales that CES and the brand is still a favorite among consumers everywhere.

Everyone wishes Jamie a long, healthy life. Thank you Jamie. Now read his amazing story in Variety.

 By Ethan Shanfeld

In his new Netflix comedy special “What Had Happened Was,” Jamie Foxx finally told the story behind the mysterious and harrowing medical emergency that left him hospitalized and fighting for his life in 2023.

Emerging on stage and proclaiming “I’m back!” as he danced and hyped up the crowd, Foxx said his life was saved just 400 yards from the Atlanta theater, at Piedmont Hospital. The Oscar and Grammy winner held back tears as he discussed his “mystery illness,” saying, “Please, Lord, let me get through this.”

“April 11, I was having a bad headache, and I asked my boy for Aspirin. I realized quickly that when you’re in a medical emergency, your boys don’t know what the fuck to do,” Foxx joked.

He said before he could even take the Aspirin, he blacked out and remained unconscious for weeks. “I don’t remember 20 days,” Foxx said. He was told that his friends took him to a doctor in Atlanta who gave him a cortisone shot and sent him on his way. “What the fuck is that?” Foxx quipped. “I don’t know if you can do Yelps for doctors, but that’s half a star.

His sister Deidra Dixon, who he described as “4-foot-11 of nothing but pure love,” knew that Foxx was experiencing something much more severe. “She says, ‘Get him in the car. That ain’t my brother right there,’” Foxx said.

“She drove around — she didn’t know anything about Piedmont Hospital, but she had a hunch that some angels [were] in there.”At Piedmont, a doctor told Dixon that Foxx was “having a brain bleed that has led to a stroke,” and that if they didn’t operate on him as soon as possible he would die. “My sister knelt down outside the operating room and prayed the whole time,” Foxx said. 

He said it “was kind of oddly peaceful” being unconscious, adding, “I saw the tunnel. I didn’t see the light.” Foxx then joked, “It was hot in that tunnel. Shit, am I going to the wrong place in this motherfucker? Because I looked at the end of the tunnel, and I thought I saw the Devil like, ‘C’mon.’ Or is that Puffy [Sean Combs]?”

After the procedure, the doctor told Dixon that Foxx “may be able to make a full recovery, but it’s going to be the worst year of his life.” Foxx concurred: “That’s what it was.” As he entered his recovery process, Foxx said Dixon and his daughter Corinne Marie Foxx “cut it all off” and shielded Foxx from the outside world. “They didn’t want you to see me like that. And I didn’t want you to see me like that,” Foxx said, choking up. “I want you to see me like this.”

When he fully woke up, at a Chicago rehabilitation center on May 4, Foxx didn’t understand why he found himself in a wheelchair. And despite what he was being told, he could not wrap his head around the fact that he had a stroke. He told the audience about his long road to recovery and the reluctance to being bathed by a nurse — before she told him she had already been bathing him for weeks, he just couldn’t remember. “I couldn’t wipe my own ass,” Foxx said.

“I lost everything, but the only thing I could hold onto was my sense of humor,” Foxx said, before repeating a mantra of the comedy special: “If I could stay funny, I could stay alive.”

The comedian then cycled through celebrity impressions, including Denzel Washington, Dave Chappelle, Mike Tyson, Jay-Z and Donald Trump.

He said during the first 15 days of his hospitalization, the doctors thought he would die because his vitals were too high, and he needed to be kept calm. “You know what [is] the worst thing to have when you’re trying to stay calm in the hospital room? Black family members,” Foxx joked before imitating his panicked kin.

Foxx said he didn’t want his youngest daughter, 14-year-old Anelise Bishop to see him in that state. Nonetheless, she snuck into his hospital room with her guitar and started playing music, causing Foxx’s vitals to go down.

“It was God in that guitar,” Foxx said, calling the incident a “miracle.” “That’s my spiritual defibrillator.” 

Bishop then walked on stage donning a Rickenbacker electric guitar for a father-daughter duet that had the audience (and Foxx and Bishop) wiping away tears.

“You had to make it because I always dreamed we would perform together on stage one day,” Bishop said.

Elsewhere in the special, Foxx discussed the internet conspiracy theories surrounding his medical emergencies (“Y’all motherfuckers really thought I was a clone”) and his spirituality (“God gave me a second chance”). 

Foxx also showed a brief highlight reel of his most iconic characters and led the theater in dance and a singalong. The “Ray” and “Dreamgirls” star sat down at the piano to perform a gospel number and a rollicking song about why he’s done dating white women.

Ending things on a sweet note, Foxx offered his sincere thanks to everybody who prayed for his recovery, to his nurses and doctors, to his family, to God and to the city of Atlanta. As he shook the hands of the audience members in the front row, Foxx sang, “Thank you for my body. Thank you for my soul.”

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This comes as no surprise to me. Thank you Gail Williams for sharing The Atlantic story to confirm what I believe to be true, most of the time.

Success in school is not the same thing as success in life. University administrators assumed that people who could earn high grades would continue to excel later in their career.

But school is not like the rest of life. Success in school is about jumping through the hoops that adults put in front of you; success in life can involve charting your own course. In school, a lot of success is individual: How do I stand out? In life, most success is team-based: How can we work together? Grades reveal who is persistent, self-disciplined, and compliant—but they don’t reveal much about emotional intelligence, relationship skills, passion, leadership ability, creativity, or courage.

Click to read the story

https://apple.news/AQzw6PxTcRde5Zq1iPpGBWg

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ART COLLECTOR QUESTIONNAIRE

For Years, KAWS Kept His Prolific Collecting Practice on the DL. Now He’s Giving Us a Peek at His Monumental Trove

Brian Donnelly’s jaw-dropping collection is the subject of the Drawing Center’s latest exhibition, which has put just a fraction of the artist’s expansive trove on view.

Brian Donnelly in Brooklyn studio. All images courtesy of Donnelly.

“I don’t think my practice has much of an effect on the works I acquire, I simply collect works I am naturally drawn to,” explains Brian Donnelly—better known under his artistic pseudonym KAWS, whose personal auction record is sitting at $14.8 million. “But there could be some subconscious elements at play …”

Donnelly’s artistic output may not tidily mirror his vast and far-ranging collecting habit, but the two are intimately tied nonetheless. The Drawing Center, which is currently hosting a show of over 300 works on paper pulled from the the artist’s personal holdings, likens the trove to a personal reference library for his creative investigations. “Looking at works in my collection is a good way for me to get out of my head and take a break from my own practice,” Donnelly admits. “It’s refreshing to step away and look at work that’s totally different from mine and see things from another perspective.”

In addition to resurfacing drawings the artist has kept in storage, “The Way I See It: Selections from the KAWS Collection” also lifted some of the works on view straight from Donnelly’s walls—going so far as to reconstruct the layout the artist devised for them in his Brooklyn home. In the midst of their temporary move to Manhattan, Donnelly took a moment to let CULTURED peek inside his prolific collecting practice. Futura 2000, World Tour Action, 1984.

Where does the story of your personal collection begin?

I always collected things like stamps or trading cards growing up, so I always had that kind of mindset within me. When I was younger and doing graffiti, we would all trade black book drawings and small paintings with other artists and writers that you would meet. That was the first art I owned by other people.

What is the first piece you ever bought? How about the most recent?

The first piece I bought from a gallery was a Raymond Pettibon drawing from David Zwirner in 2000. It was a drawing of a fly with the word “SWAK!” (like the sound of a fly swatter) written on it. “SWAK” being “KAWS” backward, I took it as a sign and bought it as a birthday present for myself. This morning I purchased a painting by Futura 2000 titled World Tour Action, 1984. It’s a painting I’ve wanted for a while and was the invitation image for his show at Tony Shafrazi.

Which work in your home provokes the most conversation from visitors?

I don’t have many visitors.

How do you discover new artists or work?

When I find an artist I’m interested in, I tend to go down a rabbit hole researching where they were from, who their peers were, what was going on around them at the time, etc. This leads me to discover new artists all the time and learn about different movements and groups as a whole. In regard to new artists coming up now, I discover them in all kinds of ways––whether through word of mouth or often on Instagram, honestly. That also allows me to connect with them directly from time to time.

Which artist are you currently most excited about and why?

I just finished hanging the show at the Drawing Center, so I would say there are about 60 artists I’m currently very excited about.On left wall: Peter Saul, Untitled (Blue Interior), 1960.

What factors do you consider when expanding your collection?

I see my collection as a research library that I can use to investigate artists and works that I am interested in. Sometimes I acquire a work by an artist so that I can study it in relation to other works by that artist––that allows me to see how their processes change over time.

For example, Peter Saul is an artist I collect whose work has changed a lot over the years. It’s interesting to look at his works from different eras side by side and see that progression. Owning a work and living with it on your wall is a totally different experience than visiting a museum. You can really see how your relationship with a work changes over time and sometimes things wind up taking on more or less meaning after a while.Mudd Club Register Book, showing a drawing by Jean-Michel Basquiat, 1981. Photography by Brad Bridgers.

You have a Mudd Club sign-in book in your collection. Are there any other surprising mementos of the art world you’ve been able to pick up along the way? How do these fit into your collecting habits?

I enjoy collecting all kinds of ephemera and source material that relates to artists and their work. It helps inform the work and gives you more insight into what the artist was thinking or their process. Sketchbooks or original works for things like posters or album art deepen the story and allow you to make connections you might not have seen before. A similar group of works I own are the sign-in books for 51X Gallery. It’s so interesting seeing who turned up to these shows and left notes.

What are your must-see shows this October?

“The Way I See It” at the Drawing Center! (I can be shameless when it’s someone else’s work!). Futura 2000 at the Bronx Museum. OSGEMEOS at the Hirshhorn. Thomas Schütte at MoMA.

SUCCESS·ENTERTAINMENT

—he says he spent too much money on ‘superfluous things’

BY Eleanor Pringle

“Thunder Road” singer Bruce Springsteen has clarified reports that he is worth $1.2 billion.

Bruce Springsteen has poured cold water on the notion that he is a billionaire, saying 10-figure estimates of his net worth are “real wrong.”

Outlets like Forbes have estimated The Boss is worth $1.2 billion—owing to his vast catalog of studio and live albums, which he sold to Sony in 2021 for $500 million. 

But the New Jersey native has set the record straight, bluntly telling media: “I’m not a billionaire.

“I wish I was, but they got that real wrong,” Springsteen told the Telegraph in a recent interview. “I’ve spent too much money on superfluous things.”

The 75-year-old rock-and-roll legend released his first studio album—Greetings From Asbury Park, N.J.—more than 50 years ago and has been touring ever since.

He wants to enjoy the fruits of his labor, adding people should enjoy their “good fortune” because after all, “you put the work in.” 

But the father of three said he’s never let the finer things in life distract him from the bigger picture, adding, “That’s usually where people go south.”

Protecting his talent was key to ensuring that didn’t happen, he added: “If I had failed at that, I would have failed at everything, in my opinion.”

‘Superfluous’ spending

What Springsteen would class as a “superfluous” spend isn’t clear, but his philanthropic and charitable spending is well-documented.

Earlier this year it emerged that the rocker donated $20,000—the equivalent of more than $58,000 in 2024 currency—to support miners in the north of England in the 1980s, who were on strike at the time. 

Springsteen handed two miners’ wives—Juliana Heron and Anne Suddick—the check at a gig in Newcastle in 1985, without any publicity.

“He just said, ‘I truly support what the miners are doing for their communities. I want to present you with this cheque,’” Heron told the BBC earlier this year.

A year prior Springsteen and his wife, Patti Scialfa, donated $100,000 to the restoration of the Turf Club, a music venue dating back to the 1960s, in Asbury Park, where the musician grew up. 

Indeed the Born in the U.S.A. singer-songwriter has stayed close to his roots and in 2019 gave fans some insight into his home life.

Springsteen shows CBS’s Gayle King around his home studio in New Jersey, where he has recorded the majority of his music over the past 15 years.

A portion of Springsteen’s wealth also apparently goes to keeping livestock, as he showed King his pet pigs and horses.

Springsteen and politics

The front man known for his tours alongside the E Street Band is also forthcoming about his political inclination. 

Springsteen was a staunch supporter of President Obama, frequently headlining concerts and appearing at rallies for the former Democratic commander-in-chief. 

Whether or not Springsteen donates to Democratic nominees isn’t known, but the “Thunder Road” singer has come out in support of Harris in the upcoming presidential election.

He told the Telegraph this month he’s “not that anxious” about the outcome of the White House race because he believes Harris will win, though adding, “Of course, I’ve been wrong before about this.”

Springsteen continued, referring to Donald Trump: “In the States, there’s an enormous anxiety, however, at losing the things that are dearest to us, the danger of losing democracy, rule of law, peaceful transfer of power. And this is a guy who is committed to none of these things.

“He’s an insurrectionist. You know, he led a coup on the United States government, so there’s no way he should be let anywhere near the office of the presidency.”

WSJ