The George Lindemann Journal by George Lindemann

George Lindemann Journal by George Lindemann "Ai Weiwei's Spring: Three Shows on Two Continents" @wsj by Mary M. Lane

View Slideshow

Ai Weiwei is seeing his work mounted in museums in Berlin and New York and at a gallery in London. Ai Weiwei Studio/Brooklyn Museum

When "Evidence," Chinese artist Ai Weiwei's biggest exhibition to date opened in Berlin last week, one person was notably missing from the guest list: the artist himself.

Barred from traveling abroad since his release from detention in 2011, Mr. Ai couldn't be in Germany—or in New York. There, his first museum show in the city opens at the Brooklyn Museum April 18 and runs through Aug. 10.

But Mr. Ai says that in some ways Germany in particular surrounds his home in Beijing every day. "When you walk in Beijing now you almost think you're in a German industrial city, because you see all these Mercedes-Benzes and BMWs everywhere," Mr. Ai, who owns a Volkswagen VOW3.XE -1.05% Volkswagen AG Non-Vtg Pfd. Germany: Xetra ^€192.40 -2.05 -1.05% April 14, 2014 5:35 pm Volume : 976,645 P/E Ratio 10.31 Market Cap€89.21 Billion Dividend Yield 2.11% Rev. per Employee €343,937 19619419219010a11a12p1p2p3p4p5p 04/14/14 Peugeot Sets Out Recovery Plan... 04/13/14 Can New Hyundai Sonata Match P... 04/13/14 GM's Opel Could Break Even Ahe... More quote details and news » VOW3.XE in Your Value Your Change Short position and frequents a bar popular with German engineers, said in a Skype interview from Beijing last week.

Chinese hunger for German products triggered one piece in Berlin: eight vases from the Han Dynasty (202 B.C.—220 A.D.) dipped into the most popular Mercedes-Benz DAI.XE +0.11% Daimler AG Germany: Xetra ^€66.22 +0.07 +0.11% April 14, 2014 5:35 pm Volume : 3.74M P/E Ratio 10.35 Market Cap€70.77 Billion Dividend Yield 3.40% Rev. per Employee €428,427 6766656410a11a12p1p2p3p4p5p 04/13/14 GM's Opel Could Break Even Ahe... 04/11/14 China Car Demand Slows as Euro... 04/10/14 Ai Weiwei's Spring: Three Show... More quote details and news » DAI.XE in Your Value Your Change Short position and BMW car paints in China. The altered antiques speak of consumerism, but also of the economic freedoms Chinese citizens enjoy today, Mr. Ai said.

The artist and his studio designed the new exhibitions, and a May show with art for sale at London's Lisson Gallery, to raise Mr. Ai's profile even higher than it is—while China still refuses to issue him a passport. It's a clear push for large exposure, simultaneously in three cities on two continents, at a prime season for art sales and tourism.

Mr. Ai says he is addressing two audiences: one foreign, one domestic. The artist hopes that Chinese tourists, whose presence has sharply risen in the West, will be exposed to his art and issues. "Because my work is banned from being shown inside China, the only way they can become aware of it is from the outside," he said.

The Brooklyn show "According to What?" originated in 2009 at Tokyo's Mori Art Museum, with later stops in Washington, Toronto and Miami, but Brooklyn's version includes several major new pieces. Social injustice and sexual discrimination are key themes in the artworks. Among five videos screening in Mandarin with subtitles, the new "Stay Home" documents the anguish of a woman who contracted HIV from a blood transfusion. Many Chinese still think of those with HIV/AIDS as promiscuous pariahs, to which Mr. Ai is trying to draw attention, says Sharon Matt Atkins, curator of the Brooklyn show.

Another added artwork in the roughly 13,000-square-foot Brooklyn show involves sex worker-activist Ye Haiyan, a close friend of Mr. Ai's. Ms. Ye has for seven years pushed to widen health-care access for Chinese prostitutes and petition the government to legalize prostitution and destigmatize rape and AIDS. Ms. Atkins said that last summer Ms. Ye fled to a hotel after being kicked out of her apartment in the wake of the publicity over her sex activism.

At the Brooklyn show, Mr. Ai created wallpaper that covers a room and portrays Ms. Ye's belongings including a phone, a teapot and a Guy Fawkes mask. Jumbled in front of the wallpaper are many of Ms. Ye's actual possessions—including her fridge, rolling suitcases and her Tiffany-blue moped.

Several subjects show up both in Brooklyn and the much larger German show, at the Martin-Gropius-Bau exhibition hall. In a debut, Berlin features a replica of the detention room where Chinese authorities held Mr. Ai in 2011 for 81 days. Visitors can sit on his bed, at the desk or touch the toilet. "I was in jail, I was beaten, I was forbidden to go on the Internet—all because of thoughts that were inside my mind," said Mr. Ai in the video interview.

In the same vein, Brooklyn is showing "S.A.C.R.E.D.," a sextet of less-than-life-size dioramas featuring scenes from Mr. Ai's life in detention. "S.A.C.R.E.D." has only been seen during last year's Venice Biennale.

The artist added that he has consistently received "strong support" from Germany. Chancellor Angela Merkel lobbied for his release from detention and he keeps a life-size cardboard cutout of her in his studio. Though some Americans have openly supported him, he says he still believes, as he stated in 2009, that America's approach to human rights abroad is becoming insular: "If it is not necessary, most people don't try to share the pain and struggle of others. That is just how society is."

Politics doesn't occupy all the space at the new shows. The artist's love of Marcel Duchamp, the father of conceptual art whose work Mr. Ai discovered while living in Brooklyn in the 1980s, is present in the New York exhibition through a wire bent in the shape of Duchamp's face.

The artist's work often revolves around Mandarin puns that can get lost on Westerners. One such work displayed in both shows (and part of the U.S. tour from the start) is "He Xie," a pile of 3,200 hand-painted porcelain crabs. The Mandarin word means both "river crabs" and "harmonious society," but also designates the "Gang of Four," disgraced leaders who were tried in 1981 for treason.

In 2011, authorities bulldozed a studio that they had invited him to build in Shanghai in 2008. Mr. Ai first tried protesting. When that failed, he planned a feast of river crabs at the site and went on to create the porcelain crustaceans.

George Lindemann Journal by George Lindemann - "Breaking From Donor Dependence" @nytimes by ROBIN POGREBIN

ONE doesn’t typically think of drawing visitors to a cultural institution with a sheepshearing festival. But that is part of the strategy of Gore Place, a historic house in Waltham, Mass., that also has a working farm.

The farm has always been a part of Gore Place, the 1806 house and estate of Gov. Christopher Gore that is considered among the most significant Federal Period mansions in New England. Recently the institution has stepped up its for-profit events to include snowshoeing (rentals available at $8 for adults and $5 for children), farm dinners ($80 a person) and an evening “Tick-Tock a Tour” of the mansion’s clock collection ($15).

Such efforts are part of a growing consciousness among cultural institutions that they can no longer depend on donations and must develop revenue-generating activities beyond the cafe and bookstore.

“Museums are thinking of new ways to achieve their mission that earn money,” said Elizabeth Merritt, founding director of the Center for the Future of Museums, an initiative of the American Alliance of Museums.

“How do you break this cycle of charitable poverty?” Ms. Merritt continued. “How do you make a program self-sustainable, where you’re drawing a connection between people who value it and those willing to pay for it?”

Such projects come with some growing pains, museum experts say, particularly given the historical bias against mixing a cultural mission with business considerations. But at a time when contributions from foundations, corporations and individuals are shrinking — along with government support — such adjustments increasingly seem like a matter of economic survival.

“It requires a mind shift,” Ms. Merritt said. “To stop thinking automatically in terms of underwriting and stop thinking of earning money as somehow being a bad thing and start with the premise that if you’re delivering a program that’s mission-related maybe there’s a way of finding a capitalist way of supporting it.”

There are already such entrepreneurial ventures. This summer, the New Museum plans to open NEW INC, an incubator for art, technology and design in its adjacent building at 231 Bowery in Manhattan. Members selected through a competitive application process (deadline April 1) are to form an interdisciplinary community intended to foster collaboration and innovation. Those chosen will pay a monthly membership fee in exchange for work space, professional development, support services and a series of programs. The fee will go toward the incubator’s operations.

The Salvador Dalí Museum in St. Petersburg, Fla., recently established “The Edge at The Dalí,” a creativity and innovation services program for businesses and nonprofit organizations. The museum developed its curriculum based on Dalí’s art and the psychology and neurology of innovative thinking.

Over the last decade, the Museum of Fine Arts, Boston has developed a commercial licensing business by marketing its digital image archive to the home furnishing, fashion and hospitality industries. Designers are drawing from the museum’s textile collection for products like tableware, drapes and pillows. “The purpose is to get the artwork and the imagery out there and to see it used in multiple functions,” said Debra LaKind, the museum’s director of business development and strategic partnerships. “It’s also a way of generating revenue.” The Bronx Museum of the Arts now hosts dinners featuring prominent chefs ($250 to $300 a person), runs a wine club that generates as much as $15,000 a year and recently started selling prints of works by some of its featured artists.

The Lemelson Center for the Study of Invention and Innovation at the Smithsonian Institution’s National Museum of American History in Washington charges a licensing fee to collaborators in its SparkLab National Network. SparkLab offers activities at the museum that are focused on invention, such as Science Stations, which explore concepts like radioactivity, and an Under 5 Zone where children can build with blocks or solve puzzles. The proceeds go into the program.

In exchange, the partners receive use of the Smithsonian, SparkLab and Lemelson Center names and logos; a set of start-up activities; two years’ worth of materials, and assistance and consultation services. The program ultimately aims to help its collaborators in the network — like the Terry Lee Wells Nevada Discovery Museum in Reno, Nev. — create activities and programs that are specific to their institutions and geographic areas.

“The idea is to expand it out of the museum internationally to places that seem interested,” said Arthur Molella, director of the Lemelson Center. “They can take our basic material and add a lot of their own content relevant to the idea.”

Organizations like Gore Place feel as if they have no choice but to diversify. “Historic houses have to find ways to make themselves unique in order to survive,” said Susan Robertson, the executive director. “They have to be cultural resources, they have to be community resources, they have to be able to pay their bills, they have to attract visitors — they have to get a buzz going.”

“It’s an exciting challenge,” she added. “Whether we’ll succeed remains to be seen.”

Indeed, it is still unclear whether these experiments ultimately will make nonprofit institutions more independent of donor largess. Gore Place, for example, is in the second year of a three-year plan to pursue new sources of revenue — including farm stands.

“Like any new venture, there are all of the unknowns,” Ms. Robertson said. “You don’t know if the geese are going to come in and strip your pea fields in half an hour or you don’t know that you’re going to have an influx of rabbits and they’re going to eat up all your squash.”   

George Lindemann, George-Lindemann, George Lindemann Jr, George-Lindemann-Jr, Lindemann, Lindemann George, Lindemann George Jr, George Lindemann Junior, Jr George Lindemann, Lindemann Jr George, George L Lindemann, https://www.facebook.com/pages/George-Lindemann/284564361662689, https://www.facebook.com/pages/George-Lindemann-Jr/284564361662689, http://en.wikipedia.org/wiki/George_Lindemann, www.forbes.com/profile/george-lindemann, www.nova.edu/alumni/profiles/george_lindemann.html, http://www.therichest.com/celebnetworth/celebrity-business/investors/george-lindemann-net-worth, www.linkedin.com/pub/george-lindemann/b/945/78a, www.linkedin.com/pub/george-lindemann-jr/b/945/78a, www.georgelindemann.com, www.georgelindemann.posthaven.com,

George Lindemann Journal by George Lindemann - "In Boston, Altering the Artist-in-Residence Concept" @nytimes by By HILARIE M. SHEETS

“I’ve never done a thing where I sort of seep into the fabric of the museum itself and the neighborhood around it, almost like an energy consultant coming in,” said Mr. Ritchie, 50. “But instead of talking about heat, it’s ideas.” The artist is known for his densely layered, expansive paintings and installations that diagram systems of religion, science, history and cosmologies, sometimes all at the same time.

“Matthew heard from us that we’re interested in activating more spaces in the museum and activating the museum in more spaces in the city,” said Jill Medvedow, director of the 78-year-old institute, who oversaw its relocation to the edge of Boston harbor in 2006 in a luminous glass building designed by the architectural firm Diller Scofidio & Renfro. “He took that and completely embraced it and has incorporated those goals of ours into these new works of his, which are all one big body of work.”

Leading the project is Jenelle Porter, senior curator at the contemporary art institute. She had seen Mr. Ritchie’s multimedia music production “The Long Count,” conceived with Bryce Dessner of the National, the indie rock band, at the Brooklyn Academy of Music in 2009. Having worked with him before, she knew Mr. Ritchie’s penchant for collaborating across disciplines with musicians, scientists, architects and judges. “I thought it would be great to bring someone in who has the skill set to work with a lot of different people in the museum,” Ms. Porter said, “but whose work also requires and desires that kind of collaboration.”

She initially proposed that Mr. Ritchie stage a version of “The Long Count” in the museum’s theater; paint a mural on the lobby’s Art Wall, and produce a project with the Teen Arts Council. “Visual arts, performing arts and education are the most important programming elements for the I.C.A.,” said Ms. Porter.

From there, Mr. Ritchie’s residency evolved to include an additional mural in Dewey Square, a park near the institute, and an additional performance with Mr. Dessner, all unfolding through the year. “I’m imagining moving people through time and having all these disparate moments understood as orbiting planets in a solar system,” said Mr. Ritchie, who has also donated a painting, “The Salt Pit,” on view now in the museum’s collection galleries.

Mr. Ritchie has just completed the lobby mural; it covers a 50-foot wall and extends across an adjacent stretch of windows. While the piece is abstract, it builds on visual themes in the Dewey Square mural, completed in September.

“On one level, this is the story of the beginning of time,” says Mr. Ritchie. A large atom form, or big bang, is exploding on the top right, with smaller atoms falling into a kind of primordial seascape. From the center arises a vessel-like form with dense scaffolding, suggesting the building of a complex society, which then begins to break down and return to a state of nature on the left.

Within this epic history, the artist suggests ideas of Boston and the institute as well. The shape of the vessel alludes to the ship where John Winthrop, the first governor of the Massachusetts Bay Colony, quoted the Sermon on the Mount to migrants from England in 1630 as he envisioned the future “city upon a hill.”

“The I.C.A. is also the model of the shining city on a hill,” said Mr. Ritchie, “clearly designed as a lantern that glows at night and was embedded with ideas of the future at that moment it was built.” Mr. Ritchie said he thought of museums as ocean liners moving through history and preserving things. He is interested in how the opening of the art institute’s building spurred rapid redevelopment of the once-dilapidated waterfront, with hotels, office buildings and condominiums going up all around it (the mural on the institute windows, in fact, obscures a construction site directly outside).

On March 29, the next episode of Mr. Ritchie’s complex vision comes to life in a performance that will begin in the museum lobby and conclude at a Roman Catholic chapel nearby, Our Lady of Good Voyage. Musicians on clarinet and guitar, including Mr. Dessner, will improvise a composition in front of the mural. When they proceed to the chapel, originally for seamen, the performance will develop into a choral work, with the vocalist singing Mr. Dessner’s composition “To the Sea,” accompanied by organ choir and imagery by Mr. Ritchie projected behind the altar.

It is meant to connect the innovative technological present, embodied by the museum and the contemporary art within it, to Boston’s maritime and religious roots, as well as the shift in art to a largely aesthetic experience from its more spiritual role in the past. The artist noted that the chapel itself would soon be relocated from its prime location in the middle of the redevelopment district.

Since the beginning of the residency last fall, Mr. Ritchie has met regularly with members of the Teen Arts Council at the museum and prompted them to think like him. “He’s directed us to take photographs of things in our day-to-day lives that might normally go unnoticed and connect them in this big photo map or web of overlapping concepts,” said Cecelia Halle, a high school sophomore on the council, which recently received the National Arts and Humanities Youth Program award from Michelle Obama. “Ultimately, we’re going to put these things into a video that documents the changing structure of Boston through the eyes of us teens.” The collaborative project, which will make use of the museum’s high-tech digital lab, will go on view this summer.

The artist has other surprises in store. He plans to embed an unannounced artwork somewhere in the museum later this year and is working with the bookstore about a way to provide an unexpected — and undefined — ghost text along with intended purchases. He’s also created a series of short films, which set his vocabulary of abstracted imagery in motion and can be seen and heard via smartphone at the site of each artwork and performance. The residency will conclude with a reprise of “The Long Count” in the museum’s theater in December.

“There are all these things swirling around each other and each person is going to be encouraged to solve it in a way,” said Mr. Ritchie. “It’s not about having a secret language but more to encourage exploration. Can you remember the mural you saw 15 minutes ago in Dewey Square when you walk into the lobby? Can you remember the performance you were at six months ago when you’re at another one that echoes it? Can these things have an algorithmic choral quality and build on each other not just in space but in time? It’s the sense of a haunting.”

George Lindemann Journal by George Lindemann - "The Met’s Director Looks Ahead" @nytimes by By ROBIN POGREBIN

IN the five years since Thomas P. Campbell became director and chief executive of the Metropolitan Museum of Art, the museum world has had to grapple with declining philanthropic dollars, mushrooming entertainment options and a rapidly developing digital world. But in an interview, Mr. Campbell said he was optimistic about the public’s appetite for museums in general and the Met’s prospects in particular. This interview has been edited and condensed.

Q. What is the biggest issue facing museums today?

A. Impacting all of us is technology. We’ve made a huge investment in transitioning from being an analog museum to a digital museum and there are great opportunities in that to see the collections on the whole, to deliver the information to our audiences in new ways. Still, at the end of the day, the core values remain the same: It’s about bringing people face to face with works of art and stimulating their curiosity.

Q. Can museums really hope to compete with computers for people’s attention and leisure time?

A. We’re all bombarded. Museums are like the quiet car of the world. It’s a place you can come to escape, where there’s authenticity, there’s uniqueness, there’s calm, there’s physicality. I feel it’s so refreshing. But at the same time, the exciting thing is that because of technology we’re reaching out to new audiences. Our attendance has increased from 4.5 million to 6 million over five years. But online last year we had 44 to 45 million visitors to the website.

Q. What in particular are you looking forward to at the Met right now?

A. Over the last five years, we’ve completed a number of major capital projects — the American Wing, the Islamic galleries and the re-presentation of the European paintings collection. Next up is the reopening of the Costume Institute in May. This has been a project that has long been planned but has been undertaken in the last two years. We’ve expanded the exhibition space and we’ve put in place state-of-the-art storage and conservation facilities. The opening exhibition is on the great but little-known American couturier Charles James, an amazing designer of both everyday wear and couture to whom many contemporary designers look back as the inspiring genius for their own work. And then in the fall we’ll have the reopening of the plaza, which of course has been under construction outside the museum.

Q. What are you looking to accomplish with that?

A. The plaza is the entry point for the museum. For many it’s the gateway to a great institution that many visitors feel very comfortable with. But for others, our great Beaux Arts facade is intimidating. And it certainly wasn’t helped by the deplorable state of disrepair that the fountains had fallen into. We started with a plan first to replace the fountains, and then one thing led to another, and we’ve totally reconceived the plaza so it will be a much more friendly, attractive, welcoming area for people visiting the museum or who, after a visit, want to sit outside and enjoy being in one of the great New York spaces. It’s a beautification project that will make the plaza worthy of our great facade, but it’s also an external manifestation of the emphasis on accessibility that we’ve really been making over the last five years. The Met is a museum for everybody.

Q. Given the goals you set when you became director, how are you doing so far?

Q. Talk a little about the Met’s technological advances.

A. We’ve wired the whole museum — there is wireless access everywhere in the museum for free. The catalog collection is now online and we’ve also put a lot of investment into creating cross-museum applications. The scholarly backbone is the Timeline of Art History set up about 12 years ago, which we continue to invest in very heavily. And we have a number of publications like “Connections” and “82nd and Fifth” that are aimed at being entry points for audiences who want — not such in-depth scholarly information — but to get an understanding of why certain works of art are important.

Q. What is the place of contemporary art at the Met and how are you planning to use the Breuer building when the Whitney moves downtown?

A. It’s clear from all of our surveys that our audience is very interested in seeing modern and contemporary art at the Metropolitan. That was an explicit part of the job description when I was hired as director — to make sure the museum was engaging in a meaningful way with modern and contemporary art. The challenge we have is that our modern and contemporary galleries are not very well laid out and they’re also quite constrictive. So to operate the Breuer building is a great opportunity. It’s space that’s going to be especially well suited to the display of modern and contemporary art. We can provide an element of context that will differentiate our programs from those of MoMA and the Guggenheim and the Whitney. In a way, the Breuer building — because it’s not constrained — is a new space for us. We can perhaps be more experimental there, we can break away from the departmental restraints that often characterize the programs we run here at the main museum and we can really respond to the way contemporary artists are using multiple media. We can look very closely, not just at the European and American schools, but also think more internationally.

Q. Given these innovations, has there been any pushback from the old guard, saying, “This is too much change for us”?

A. By and large this is evolution, not revolution. The financial crisis of 2008 to 2009 was a sobering moment but the silver lining is, it forced all of us to think very hard about what our core priorities were about scholarship, education and accessibility, and out of that moment came a huge wave of creativity. The greatest asset along with the building and the collections is this extraordinary staff of curators and conservators at the core. I want to sustain the culture in which those scholars have flourished, so I’m not out to force any of those faster than they want to go. Most of my colleagues are as sensitive to the changes that are going on in the world as I am.

Q. How much of a hurdle do you think price is for a museum like the Met?

A. We’ve had a lot of negative press over the year about our admissions policy that really ticks me off. Five years ago, we had people telling us we should go to a compulsory charge. I felt, and the board felt, that making admission a voluntary donation was central to the integrity of an institution that was trying to make itself as accessible as possible. We’ve sustained that process in the face of financial pressure and I’m really proud of that. The average visitor costs us about $45 and we ask for a donation of $25. Of course, the reality is many visitors give much less, but that’s great. I don’t want to start charging for exhibitions. Here we have this amazing cornucopia of exhibitions and whatever you’ve donated — it’s all accessible.

George Lindemann, George-Lindemann, George Lindemann Jr, George-Lindemann-Jr, Lindemann, Lindemann George, Lindemann George Jr, George Lindemann Junior, Jr George Lindemann, Lindemann Jr George, George L Lindemann, https://www.facebook.com/pages/George-Lindemann/284564361662689, https://www.facebook.com/pages/George-Lindemann-Jr/284564361662689, http://en.wikipedia.org/wiki/George_Lindemann, www.forbes.com/profile/george-lindemann, www.nova.edu/alumni/profiles/george_lindemann.html, http://www.therichest.com/celebnetworth/celebrity-business/investors/george-lindemann-net-worth, www.linkedin.com/pub/george-lindemann/b/945/78a, www.linkedin.com/pub/george-lindemann-jr/b/945/78a, www.georgelindemann.com, www.georgelindemann.posthaven.com,

George Lindemann Journal by George Lindemann "Boldly Go" @nytimes by Roberta Smith

Rob Fischer’s “Good Weather (Glass House)” is at the Derek Eller Gallery in Chelsea. Credit Ruth Fremson/The New York Times        

ACCORDING to the thermometer as well as the calendar, it’s finally spring, a great time for that urban sport known as gallery-hopping. The options in New York City have never been richer — in some neighborhoods, taking in the galleries requires Olympic stamina.

New York is often described as the former center of the art world, the torch having been passed to Berlin, London, Los Angeles or even New Delhi. Globalism notwithstanding, New York remains the center of the gallery world, and galleries are the bedrock of any truly thriving art scene.

No other city can match its sheer numbers, and such quantity creates its own strange, implicitly democratic form of quality. New York is still the place where the greatest range of art is selected for public view by the greatest number of people — namely art dealers, who operate independent of institutions. Month after month, they mount shows of artists or artworks they believe in for our consideration, and we don’t have to buy anything or pay admission (though occasionally we have to climb on something, after removing our shoes).

A few years ago, it seemed that Chelsea was the Cookie Monster devouring other gallery neighborhoods. But as our five selective reports demonstrate, New York has thriving scenes on the Lower East Side and the Upper East Side. The SoHo scene, once inundated by retail, is showing signs of bouncing back, and putting out new shoots in eastern TriBeCa. Bushwick is blooming in Brooklyn, and in the newly named Donut District an art scene is taking root virtually beneath the Brooklyn Queens Expressway.

Our intrepid art critics went and looked. Now it’s your turn.

http://www.nytimes.com/2014/04/04/arts/design/a-gallery-guide-by-the-art-critics-of-the-new-york-times.html?ref=arts&_r=0

George Lindemann, George-Lindemann, George Lindemann Jr, George-Lindemann-Jr, Lindemann, Lindemann George, Lindemann George Jr, George Lindemann Junior, Jr George Lindemann, Lindemann Jr George, George L Lindemann, https://www.facebook.com/pages/George-Lindemann/284564361662689, https://www.facebook.com/pages/George-Lindemann-Jr/284564361662689, http://en.wikipedia.org/wiki/George_Lindemann, www.forbes.com/profile/george-lindemann, www.nova.edu/alumni/profiles/george_lindemann.html, http://www.therichest.com/celebnetworth/celebrity-business/investors/george-lindemann-net-worth, www.linkedin.com/pub/george-lindemann/b/945/78a, www.linkedin.com/pub/george-lindemann-jr/b/945/78a, www.georgelindemann.com, www.georgelindemann.posthaven.com,

George Lindemann Journalby George Lindemann - "An Artist Demands Civility on the Street With Grit and Buckets of Paste" @nytimes By FELICIA R. LEE

ATLANTA — With a lick of wheat paste, a roller and a stepladder, Tatyana Fazlalizadeh, a painter and illustrator from Brooklyn, introduced herself to the South, in an unusual way.

She plastered a poster with her own face floating above the words, “Stop Telling Women to Smile” on a vacant storefront here, across from a federal courthouse.

Then Ms. Fazlalizadeh and her helpers brushed on two dozen more posters she had created. Images of young faces stared back with wary, defiant and no-nonsense gazes above statements such as “My Outfit Is Not an Invitation,” or “Women Do Not Owe You Their Time or Conversation.”

The words came from Ms. Fazlalizadeh’s interviews with women about “catcalling,” a form of public harassment by men who feel free to comment on their bodies and demeanor. Women around the country have begun to speak out publicly, in blogs, public writing projects and on the websites of anti-harassment groups like Stop Street Harassment and Hollaback!, which document and research the problem. Many women have said they feel objectified and demoralized by sexual comments made on the street, and Ms. Fazlalizadeh has transformed their feelings and images — she photographs the women and then creates pencil drawings — into a major public art project.

Photo

Local artists and Georgia State University students and professors helped plaster posters around Atlanta. Credit Dustin Chambers for The New York Times

Local artists, as well as the students and professors from Georgia State University who had invited Ms. Fazlalizadeh here, passed paste, steadied the ladders and even tried their hand at plastering the row of storefronts on Forsyth Street.

Jessica Caldas, a visual artist, watched the posters take form. “Something a lot of people take for granted as normal and acceptable is being shown for the impact it has,” she said.

Street harassment, though, is hard to define precisely and then to challenge legally, experts say. A growing body of research shows that it is a problem affecting where women live, how they get to work, when they go out and how they dress, said Laura S. Logan, an assistant professor of sociology at Hastings College in Nebraska, who has studied catcalling for years.

Continue reading the main story

“The challenge has been there are so many behaviors that can go into street harassment on a continuum, from ‘hey baby’ to contact,” she said. “It also presents a first amendment challenge: Offensive speech is not illegal.” Still, she said, “the negative consequences are pretty well documented: fear, anger, distrust, depression, stress, sleep disorders, shame and anxiety about being in public.” Beth Livingston, an assistant professor of human resource studies at Cornell University, said verbal harassment is “more pervasive than workplace harassment, but there are less policies and laws to deal with it.” The Centers for Disease Control and Prevention, she said, “very, very recently has started to ask questions about this, to see if this could be a pervasive public health issue or problem.”

Laurie A. Combo, a New York City councilwoman from Brooklyn who is the chairwoman of the Committee on Women’s Issues, said Tuesday that she is calling on the Council to revisit the issue. In 2010 the Council held a hearing on the matter.

“We have evolved as a society, and there is no place for catcalls, lewd gestures, inappropriate language and unwarranted comments about the physical characteristics of a woman’s body,” Ms. Combo said in a comment her office sent by email.

Ms. Fazlalizadeh did not wait for any official notice to start her art project, called “Stop Telling Women to Smile.” It took off about 18 months ago when she began making nighttime forays in her Bedford-Stuyvesant neighborhood with a brush, roller and her own self-portraits. (Though wheat pasting is illegal in some places, she has never been cited, she said.) She has since moved to Bushwick and interviewed and created portraits of about 15 women. Spread largely by social media, her poster campaign has appeared in Philadelphia, Washington, Boston, Chicago, Los Angeles, San Francisco and Atlanta. A Kickstarter campaign last fall raised $34,000, allowing her to travel the country to meet women, and create and hang new work. In March, Betti Ono Gallery in Oakland, Calif., began an exhibition of her series, featuring the original graphite-on-paper drawings, oil paintings and photographs.

“This is all about how women’s bodies are consumed and are considered public property for display, comment and consumption,” said Ms. Fazlalizadeh, a soft-spoken, direct and contained 28-year-old from Oklahoma. “Women need to start talking about their daily moments because it’s the smaller stuff that affects the larger things, like rape, domestic violence, harassment in the workplace.”

She has heard all manner of stories, ranging from come-on call outs of “hey baby” to a woman in Los Angeles whose friend was shot for not giving a man her phone number. She has found some broad regional differences: Female drivers in car-centered cities like Los Angeles are often approached by men also in their cars. Women in New York tend to face street harassment.

“New York City is the most aggressive I’ve experienced in the country,” said Zahira Kelly, a 31-year-old visual artist and writer who lives in Savannah, Ga. “I cannot walk down the block without multiple men yelling at me or trying to grab me.” The caption on the poster with her picture reads, “I Am Not Here for You.”                               

Tatyana Fazlalizadeh pasted her self-portrait Friday at the Krog Street Tunnel in Atlanta, known for street art. By Sunday night, the poster had been defaced. Credit Dustin Chambers for The New York Times

George Lindemann, George-Lindemann, George Lindemann Jr, George-Lindemann-Jr, Lindemann, Lindemann George, Lindemann George Jr, George Lindemann Junior, Jr George Lindemann, Lindemann Jr George, George L Lindemann, https://www.facebook.com/pages/George-Lindemann/284564361662689, https://www.facebook.com/pages/George-Lindemann-Jr/284564361662689, , www.forbes.com/profile/george-lindemann, www.nova.edu/alumni/profiles/george_lindemann.html, http://www.therichest.com/celebnetworth/celebrity-business/investors/george-lindemann-net-worth, www.linkedin.com/pub/george-lindemann/b/945/78a, www.linkedin.com/pub/george-lindemann-jr/b/945/78a, www.georgelindemann.com, www.georgelindemann.posthaven.com,

George Lindemann Journal by George Lindemann - "Germany Announces Deal on Art Looted by Nazis" @nytimes by By MELISSA EDDY

“Seated Woman/Woman Sitting in Armchair,” by Henri Matisse, is one of the paintings whose ownership is disputed. Credit Lost Art Koordinierungsstelle Ma/Getty Images Europe, via Lost Art Koordinierungsstelle Ma

BERLIN — The German government on Monday announced an agreement with Cornelius Gurlitt, the son of a Nazi-era art dealer, that would pave the way for the possible restitution of art wrongfully taken from Jewish owners and held in his private collection for decades.

Lawyers for Mr. Gurlitt, representatives of the state of Bavaria, and the German federal government agreed that a government-appointed team of international experts had one year in which to investigate the works seized from Mr. Gurlitt’s Munich apartment in 2012.

The deal would take effect when the works, which are being held by Bavarian authorities as part of a criminal investigation, are released. It applies to all art of questionable provenance in Mr. Gurlitt’s collection, which has become known as the Munich Art Trove. Authorities said Mr. Gurlitt can prove legal ownership of some of the works.

Reached after several weeks of negotiations, the agreement bypasses the 30-year statute of limitations that applies to stolen property in Germany, and in doing so, represents a willingness by the German government to resolve outstanding claims related to Nazi-looted art works.

The resolution comes months after the public first learned of the more than 1,280 works — including those by major artists such as Picasso, Chagall and Gauguin — held by Mr. Gurlitt. They were seized by Augsburg prosecutors as part of a tax evasion investigation. When the German news media broke the story of their existence last November, it triggered outrage around the world.

Responding to intense international criticism over how it had handled the art, the German government appointed a task force to investigate their provenance with an aim to return looted works to their rightful owners. But questions lingered over what would happen to the collection once it was released to Mr. Gurlitt, if he is cleared of the tax evasion charges. Legal experts also raised questions over whether the state had been justified in confiscating the collection in the first place.

Mr. Gurlitt, 81, who lived a reclusive life seemingly dedicated to defending the modern art collection amassed by his father, Hildebrand Gurlitt, during the Nazis’ reign, had initially insisted that all the art be returned to him. He declared in his only interview, with the newsmagazine Der Spiegel, that he would not give any of them up.

But his failing health led a Munich court late last year to appoint a legal guardian, Christoph Edel, to deal with Mr. Gurlitt’s legal, health and wealth affairs. Since then, Mr. Gurlitt has appeared more willing to negotiate with the authorities, leading up to the agreement.

His spokesman, Stephan Holzinger, said Mr. Gurlitt suffers from a weak heart and remains hospitalized following surgery, adding urgency to the need for resolution.

“We are dealing with a top-class team of experts, and given Mr. Gurlitt’s advanced age and frail health, it can be expected that they should be able to complete their work within this time frame,” Mr. Holzinger said.

Monika Grütters, Germany’s culture minister, has made addressing restitution issues a priority since she came into office at the start of the year. She welcomed the agreement with Mr. Gurlitt, saying it would pave the way for an independent center that is being established to streamline and reinvigorate German efforts to handle restitution claims.

“Our experience gained through dealing with the Munich Art Trove will influence the new Lost Art Center,” Ms. Grütters said. Mr. Gurlitt further agreed that images of the works in question could be posted to the government’s database, which includes 458 pictures.

But the agreement also puts pressure on researchers to determine the history of the works. An additional researcher, appointed by Mr. Gurlitt, will be named to the task force when Mr. Gurlitt’s collection is released to him. Officials said they did not know when that would happen.

Greg Schneider, the executive vice president of the Jewish Claims Conference, expressed concern that the deadline could lead to the art being returned before the works’ history could be clarified. “Returning artwork to Mr. Gurlitt that has not been fully researched would be reprehensible,” Mr. Schneider said. “Either the government has to commit sufficient resources to complete the work within a year, or the deadline must be extended, if it is not met.”

Among the works is a well-known Matisse painting that the descendants of Paul Rosenberg, a French art dealer, said was taken from their family by the Nazis. The picture, “Seated Woman/Woman Sitting in Armchair,” was among the first to be identified by claimants seeking the return of the picture.

But Mr. Gurlitt’s lawyers said Monday that a rival claim had been filed for the painting, forcing the delay of a previously announced return of the work.

“I am legally required to investigate the new claims,” Mr. Edel said.

The new claimant was not identified, and no details were given on the basis of the claim. Representatives of the Rosenberg family declined to comment.

The latest twist in what appeared to be a relatively clear case reflects the challenges that authorities face with disputed works in the collection; cases that on the surface appear to be morally clear cut may run into snags within Germany’s complex legal system.

Government officials hope the agreement reached Monday will help restore confidence in Germany’s image abroad, which has been tarnished by the handling of Mr. Gurlitt’s collection.

“The meaning of the so-called Munich Art Trove reaches far beyond the criminal proceedings in connection with suspected tax evasion,” said Winfried Bausback, the justice minister for Bavaria. “It opens very basic and overarching questions about how we handle such artworks.”

www.georgelindemann.posthaven.com, www.georgelindemann.com, www.linkedin.com/pub/george-lindemann-jr/b/945/78a, www.linkedin.com/pub/george-lindemann/b/945/78a, http://www.therichest.com/celebnetworth/celebrity-business/investors/george-lindemann-net-worth, www.nova.edu/alumni/profiles/george_lindemann.html, www.forbes.com/profile/george-lindemann, http://en.wikipedia.org/wiki/George_Lindemann, https://www.facebook.com/pages/George-Lindemann-Jr/284564361662689, https://www.facebook.com/pages/George-Lindemann/284564361662689, George L Lindemann, Lindemann Jr George, Jr George Lindemann, George Lindemann Junior, Lindemann George Jr, Lindemann George, Lindemann, George-Lindemann-Jr, George Lindemann Jr, George-Lindemann, George Lindemann

Architecture generally involves creating monuments to permanence from substantial materials like steel and concrete. Yet this year, the discipline’s top award is going to a man who is best known for making temporary housing out of transient materials like paper tubes and plastic beer crates.

On Monday, the Japanese architect Shigeru Ban was named the winner of this year’s Pritzker Architecture Prize, largely because of his work designing shelters after natural disasters in places like Rwanda, Turkey, India, China, Haiti and Japan.

“His buildings provide shelter, community centers and spiritual places for those who have suffered tremendous loss and destruction,” the jury said in its citation. “When tragedy strikes, he is often there from the beginning.”

In a telephone interview from Paris, Mr. Ban, 56, said he was honored to have won, not because the Pritzker would raise his profile but because it affirms the humanitarian emphasis of his work. “I’m trying to understand the meaning of this encouragement,” he said of the prize. “It’s not the award for achievement. I have not made a great achievement.”

View slide show|16 Photos

The Work of Shigeru Ban

The Work of Shigeru Ban

Credit Roland Halbe/Centre Georges Pompidou-Metz, via EPA

The prize, established in 1979 and viewed as the Nobel of architecture awards, suggests otherwise.

Mr. Ban is credited with challenging traditional notions of domestic space and what it means to have a roof over your head. His Naked House in Saitama, Japan, features four rooms on casters within a house clad in clear corrugated plastic and surrounded by rice fields. He stepped in after the 19th-century Christchurch Cathedral in New Zealand was ravaged by a 2011 earthquake, designing a transitional sanctuary fashioned mainly from cardboard tubes.

Asked to create something related to the Pont du Gard, a Roman aqueduct on the Gardon River in the south of France, he came up with a footbridge, using his signature cardboard tubes and recycled paper as a counterpoint to the ancient structure’s heavy stone. And his Curtain Wall House in Tokyo links interior and exterior with white curtains that can be opened and closed.

“His works are airy, curvaceous, balletic,” Michael Kimmelman wrote in The New York Times in 2007. “An heir to Buckminster Fuller and Oscar Niemeyer, to Japanese traditional architecture and to Alvar Aalto, he is an old-school Modernist with a poet’s touch and an engineer’s inventiveness.”

Mr. Ban is also known for somewhat more conventional projects, like the Pompidou Center’s satellite museum in Metz, France (with a roof inspired by a woven bamboo hat) and his entry for the competition to redesign the World Trade Center as part of a team that included Rafael Viñoly, Frederic Schwartz and Ken Smith. Mr. Ban’s Aspen Art Museum, a 33,000-square-foot structure in Colorado with a woven exterior wood screen, is to open in August.

Yet, in a way, Mr. Ban also represents a kind of anti-architecture, a rejection of the aura of celebrity status pursued by many in the profession. In public remarks this month, for example, Mr. Ban took architects to task for not putting their expertise to work for a greater social good.

“I’m not saying I’m against building monuments, but I’m thinking we can work more for the public,” he said in London at Ecobuild, an annual conference on sustainable design. “Architects are not building temporary housing because we are too busy building for privileged people.

Each year the Pritzker goes to a living architect whose work has contributed to humanity and the built environment. Mr. Ban will receive a $100,000 grant and a bronze medallion to be awarded on June 13 in a ceremony at the Rijksmuseum in Amsterdam. Previous winners of the prize have included Philip Johnson, Frank Gehry, Zaha Hadid and Norman Foster. 

Mr. Ban was originally drawn to disaster relief by the squalid condition of Rwanda’s refugee camps in 1994. “I thought we could improve them,” he said. He traveled to Geneva to work with the United Nations High Commissioner for Refugees on designing prototype tents with paper poles.

He then turned his attention to the aftermath of the 1995 earthquake in Kobe, Japan, designing emergency housing with beer-crate foundations and paper-tube walls. He has since become a familiar presence on the scene of major international disasters, arriving with architecture students to teach them about developing solutions at such sites.

Many of Mr. Ban’s temporary structures have become semi-permanent. In Kobe, for example, shelters meant to be used for three years were used for 10. “Whether they keep it is up to them,” he said. Born in Tokyo in 1957, Mr. Ban studied at the Southern California Institute of Architecture before transferring to the Cooper Union School of Architecture in New York, where he earned his bachelor’s degree in architecture in 1984. A year later, Mr. Ban established a private practice in Tokyo; he now also has offices in Paris and New York.

Many New Yorkers became acquainted with his work with the arrival of his Nomadic Museum, mobile shipping containers parked on a Hudson River pier to showcase “Ashes and Snow,” a 2005 exhibition of Gregory Colbert’s animal photography that made its debut in Venice.

With Dean Maltz, the architect who runs the American branch of his practice, Mr. Ban has also designed a set of glass duplex penthouses atop the Cast Iron House, a 132-year-old landmark on lower Broadway, and Metal Shutter Houses, a condominium on 19th Street in Chelsea. And Mr. Ban designed Camper’s flagship shoe store on Prince Street, with red-and-white interiors and a vertical garden.

Although such commissions are highly lucrative, Mr. Ban said he is not motivated by the compensation. “I’m not really interested in making money,” he said. “I’m not interested in the design fee.”

“As long as I can make people happy to use my building,” he added, “I’m happy.”

Agonized sincerity does not sit well in today's art world, where irony—albeit sometimes diluted to the homeopathic strength of just a little too much knowingness—is a standard ingredient. This is especially true in sculpture, as opposed to painting, where assemblage—the cobbling together of disparate parts of varied origin—is the predominant manufacturing method. So what will this city's art cognoscenti make of "Germaine Richier," the Dominique Lévy / Galerie Perrotin show of about 40 cast-bronze sculptures—in an old-fashioned crowded installation—of alternately spiky and bulbous, existentially distorted and distressed human figures, some of them veritable animal or insect hybrids?

Enlarge Image

'La Tauromachie' (1953). Germaine Richier / 2014 ARS/ ADAGP

At the least, we should reopen our aesthetic to the possibility that what might appear, to superficially sophisticated eyes, as mere mawkish modernism is actually profoundly tragic art. And we should recognize that Germaine Richier (who was born in 1902 in Grans, in the south of France, and who died in 1959 in Montpellier) was—with some ups and downs—a great sculptor whose depth, passion and skill we could use more than a bit of today.

After studying at the art academy in Montpellier, Richier moved to Paris in her mid-20s and entered the studio of Antoine Bourdelle, a sculptor of bombastic, classico-modernist public works who also taught Alberto Giacometti and Henri Matisse. From Bourdelle, Richier learned everything there was to know about modeling in clay and casting in bronze. (Traditional craft is visibly operative in even her most contorted pieces.)

She was married twice, the first time—and for more than two decades—to Otto Bänninger, a good but not great Swiss sculptor, and then, for the last few years of her life, to the surrealist poet René de Solier.

Although she had to teach in order to afford to work in bronze, Richier was quite successful, especially after World War II. (She and her first husband were able to sit out the war in Switzerland, returning to Paris in 1946.) From 1948 on, she participated in five Venice Biennales in a row, and her postwar exhibition record includes solos at such prestigious galleries as Maeght and Berggruen, and a 1958 retrospective at the Walker Art Center in Minneapolis. All of which is to say that Richier was anything but neglected in her day. But her last solo gallery exhibition in New York, at Martha Jackson—where the likes of Christo, John Chamberlain and Sam Francis made their New York debuts—took place 57 years ago. That was just about the time the art world was starting to veer from Abstract Expressionism toward Pop, and heartfelt figuration was increasingly perceived in the quarters that counted as—to be blunt—corny.

Stateside Americans hadn't been as close to the blitzes, bombardments and mass killings of World War II as had Europeans, and our artists didn't feel nearly as strongly as did Richier about the psychological as well as aesthetic problem of reviving, let alone maintaining, the credible presence of the human figure in sculpture. Perhaps she'd already formed the basis for her sculptural vision from a visit to the ruins of Pompeii in 1935, but it was the war that prompted in her an idea of human devolution—from the most advanced mammal back down to bats and birds and, finally, insects. The crouching, frightening "La Mante, moyenne" (1946)—the exhibition titles are in French—is a wonderfully pessimistic example.

Not that Richier didn't have hope. In 1950, she completed a commission for a crucifix for a church in Plateau d'Assy; the sculpture (not in the exhibition) was a stark, almost stick-figure Christ, whose tortured surface came from a verse in Isaiah about "a man of sorrows" having grown up "as a root out of dry ground," without "form or comeliness." The work was denounced politely as "liturgically insufficient" and not so politely as "an insult to the majesty of God," and removed in 1951. It most likely didn't help that the artist was a woman. In 1962, however, the Vatican II reforms decided what was called "the quarrel over sacred art" in favor of the kind of cry-from-the-heart modernism that Richier represented.

The artist's best pieces in this mode, in this show—among at least a couple of dozen very good ones—are "Le Couple peint" (1959), a tall, poignantly thin (from the pressures of the world, not lack of food) man and woman; "La Tauromachie" (1953), a walking, hollow-stomached figure accompanied by a bull's skull; and the startlingly inventive "l'Echiquier" (1959). That last work, which tackles the cliché of the chessboard in modern art, features the king, queen, knight, rook and bishop; each piece displays a different semiabstracted human gesture and—this is Richier's magic—is somehow moving. At Dominique Lévy, the large version consists of a row of figures deftly installed on a low platform; on another floor sits the smaller work, with the figures positioned on a partial chessboard.

In spite of the fact that Richier's art deeply influenced not only such contemporaries as the "geometry of fear" English sculptors Reg Butler and Lynn Chadwick but is a clear inspiration for Louise Bourgeois's giant spiders, she's not had the obviously obligatory major retrospective in Paris. The reason is Giacometti, of whom some unfairly judge Richier to be a variant, if not imitator. While there are similarities, the two artists are as different as, say, Joan Miró and Paul Klee.

Richier is, in bronze, quite an original artist and, in words, one of the better thinkers about sculpture. "What characterizes sculpture, in my opinion," she says in a gallery wall text, "is the way in which it renounces the full, solid form. Holes and perforations conduct like flashes of lighting into the material, which becomes organic and open, encircled on all sides, lit up in and through the hollows. A form lives to the extent to which it does not withdraw from expression."

When London's Tate Modern opened in 2000, in the famous former power plant on the Thames, it installed in a prominent place a painted plaster—and quite joyful—iteration of Richier's "l'Echiquier." London, at least, had it right.

Mr. Plagens is an artist and writer in New York.

George Lindemann Journal by George Lindemann - "Speculating on Trophy Art" @nytimes

''Cracked Egg (Magenta)'' by Jeff Koons. Credit Christie's

LONDON — Works by contemporary artists born after 1945 generated $17.2 billion in worldwide auction sales last year, a 39 percent increase from 2012, according to figures just released by the French database Artprice. Last November, a triptych by Francis Bacon sold for $142.4 million, a record for any work of art at a public sale. And a handy new website, www.sellyoulater.com, now advises speculators on which hot young artists to buy, sell or “liquidate.”

Inevitably there’s talk of a bubble. Art is a notoriously volatile investment that has suffered spectacular collapses, as seen in the great Impressionist boom and bust of 1990-91, and in 2008-9, when contemporary works by Jeff Koons, Damien Hirst and other fashionable names halved in value after the fall of Lehman Brothers.

“Things are different now,” said Allan Schwartzman, the New York-based art adviser. “There’s a momentum in the market that’s dictated by the top players. It’s trophy-driven. There are often six competitors for the major lots at auctions, which indicates to me there isn’t a bubble. Contemporary art has never been supported like this before.”

Others feel uneasy about the record prices being paid by billionaires for big-name trophies, as well as the six-figure sums for paintings by hip 20-somethings like Lucien Smith and Oscar Murillo. But how can a market crash when the people now driving its growth are seemingly rich enough to be impervious to the fluctuations of the wider economy? How do their decisions influence smaller buyers? The art market is rife with speculation at the moment, but does that necessarily mean it’s a bubble about to burst? These are the questions on the minds of many in the art world in early 2014.

“In 2007 we were definitely in a bubble,” said Howard Rachofsky, a Dallas-based collector. “Then after the break it got globalized. The market attracted the attention of international players who are interested in art as another asset and they’ve got huge reserves.”

For instance, last week, at the Art14 contemporary fair in London, Citi Private Bank hosted a gathering of private museums from 16 countries.

The super rich have grown in number and wealth. The world had a record 2,170 billionaires with a combined net worth of $6.5 trillion in 2013, according to the inaugural Wealth-X and UBS Billionaire Census. In the United States, research from the University of California, Berkeley, has shown that the wealthiest 1 percent has captured 95 percent of the country’s economic growth since 2009. Those with tens of millions in disposable cash are looking for alternatives to the stock markets, be it luxury apartments in London or Gerhard Richter abstracts.

“Enormous amounts of money have backstopped at the top of the system among a relatively small group of people,” said Todd Levin, the New York-based art adviser.

Still, art is a relatively small sector of the global economy — total dealer and auction sales were estimated at 43 billion euros, or $59 billion, in 2012, according to the European Fine Art Foundation (the 2013 figure will be announced next week). It therefore takes only a tiny minority of the world’s richest 1 percent to spend a small proportion of its wealth to have a disproportionate effect on such a niche market.

“Right now, they’ve decided that art is a good place to put their money,” said Mr. Levin, who, on behalf of a client, was among at least five bidders competing for Bacon’s “Three Studies of Lucian Freud” at over $100 million. Unprecedented auction prices have paid for trophies by blue-chip artists such as Bacon ($142.4 million), Richter ($37.1 million), Jean-Michel Basquiat ($48.8 million) and Andy Warhol ($105.4 million) within the last 12 months. Some are questioning the sustainability of this bull market.

“The global art market is currently held hostage by the very top end of the market (works sold above $10 million) as well as the taste and wealth of a relatively small number of individuals,” said ArtTactic, an art market research company based in London, in an “Outlook” report published earlier this month subtitled “A 10-year-old bubble about to become even bigger.” ArtTactic said the apex of the market was dominated by about 150 individuals with the resources to pay $20 million for a single work of art.

“These prices are being driven by excess cash,” said Anders Petterson, the founder of ArtTactic. “The wealthy get a lot of social prestige out of buying these works. But if prices rise too much, this clique could lose interest and move on to something else, and if they lose interest, a lot of other people would lose interest as well.”

For the moment, high prices are acting as a stimulus program for wealthy sellers at the expense of auction-house profits. Last week, Sotheby’s announced net annual income of $130 million, or 2.1 percent, on record total sales of $6.3 billion in 2013. (Equivalent profit figures are not available from Christie’s and Phillips, which are privately owned.) Thanks to cutthroat competition for consignments, owners of high-value works like Jeff Koons’s “Cracked Egg (Magenta)” sculpture — sold by Damien Hirst for 12.5 million pounds, or $21 million, plus £1.6 million in buyer’s fees at Christie’s in London on Feb. 13 — are not charged sellers’ commissions and are usually given some of the extra paid by buyers.

The auction houses instead have to make money out of lots in the $50,000 to $5 million range, for which they charge double-digit fees to both the seller and the buyer. This in turn squeezes the profitability of middle-range works that don’t enjoy trophy status.

At Sotheby’s on Feb. 12, for example, the 1984 Basquiat painting “Water-worshipper” sold below estimate for a hammer price of £2.15 million; it had been bought by its seller for €2.4 million at an auction in Paris in 2010.

The bargaining power of today’s richest investor-collectors makes it more difficult for the auction houses, and the bulk of their sellers, to turn a profit, thereby putting further pressure on the skin of what may or may not be a bubble. “It used to be said the air was thin at the top of the market,” said Mr. Schwartzman. “Now it’s thin in the middle.”