The George Lindemann Journal

So you want to be the next Peggy Guggenheim. Besides wealth, what does it take to qualify as a heavyweight art collector today? Kelly Crow has answers on Lunch Break. Photo: André Klotz for The Wall Street Journal.

Last year, Brazilian collector Pedro Barbosa spotted a tumbling spiral made with hundreds of rubber tires at the Swiss fair Art Basel. The next day, Mr. Barbosa told a collector friend, Luiz Augusto Teixeira de Freitas, that he intended to buy the tires, actually a $150,000 installation by British artist Mike Nelson.

Surprised, Mr. Augusto reminded Mr. Barbosa that the artwork wouldn't fit inside Mr. Barbosa's São Paulo home. "Doesn't matter," Mr. Barbosa said. "I bet I can lend it to some museum in America." (For now, he is storing the work with a dealer in Italy).

It takes great wealth—and a little hubris—to ascend the ranks of the world's top art collectors. Mr. Barbosa, a 48-year-old former bond trader, is determined to qualify. Like many collectors of his generation, he began buying art on a whim just over a decade ago, but his pursuit has steadily grown serious. By collecting younger, hard-to-get Brazilian artists like Paulo Nazareth along with global superstars like Olafur Eliasson, he has earned a reputation as a highflying tastemaker on the international art scene. Mr. Barbosa employs a personal curator, Jacopo Crivelli Visconti, to manage his collection and allows guest curators to organize shows inside his spacious home in São Paulo's prestigious Jardins neighborhood. He also keeps an apartment around the corner where favored artists like Amalia Pica can stay to make and show their work. Friends say he is ever on the move, traveling to far-flung biennials and fairs from London to Istanbul to the United Arab Emirates. Altogether, his 500-piece collection amounts to roughly half his net worth, he said.

Mr. Barbosa is part of an emerging class of collectors springing up from all corners of the globe who are transforming the art marketplace with their willingness to splurge on art that suits their own tastes—not only the canons of New York or London. From Beijing to Bogotá, new art hubs are thriving in large part because these up-and-comers continue to amass art—in good economic times and bad. Many are investing heavily in contemporary art, the most speculative end of the spectrum, and changing the way the market functions.

Pedro Barbosa's Art Collection

View Slideshow

Pedro Barbosa has earned a reputation as a high-flying tastemaker on the international art scene by collecting younger, hard-to-get Brazilian artists like Jonathas de Andrade, shown here. This piece is titled 'Education for Adults' (2010). Jonathas de Andrade/Galeria Vermelho

A few generations ago, collectors like Henry Tate or Peggy Guggenheim needed aristocratic ties—or robber-baron-level fortunes—to ascend the ranks of the art world elite. Today, there are no rules for assembling a group of contemporary artworks that will one day prove iconic. Newcomer collectors say they pick up clues where they can. Some, like French investment banker Edouard Carmignac, have created art prizes to ferret out fresh discoveries—which they later showcase in their own art spaces. Others such as Roman entrepreneur Pierpaulo Barzan run foundations that mount traveling museum-style shows featuring artists they also happen to buy. Plenty more, like Costa Rican real-estate developer Judko Rosenstock, give pieces by hotshot artists to major museums like the Tate—moves that could bolster the cachet of his own pieces by those artists.

Mr. Barbosa's evolution is emblematic. Early on, he said he only collected artists from Brazil, but last year he decided to "go global," and he's been "going nuts" ever since—traveling to international fairs to collect artists like Germany's Wolfgang Tillmans and Lebanon's Rayyane Tabet. These additions serve to diversify his holdings, he said, but they also put his Brazilian pieces into a broader art context. To the same end, he also recently donated pieces by two young Brazilian artists, Jonathas de Andrade and Andre Komatsu, to London's Tate Modern.

It helps that his growing ambitions also coincide with his country's emergence as a global art hub. Until a few years ago, Brazil's art market was steady but relatively insular, anchored by South American collectors who were willing to pay as much as $50,000 for Lygia Clark's foldable aluminum sculptures or $15,000 for Beatriz Milhazes's flowery abstracts. But as Brazil's economy has expanded, local collectors have found themselves increasingly competing for their hometown favorites with buyers from around the globe—and prices have spiked as a result.

Even now as Brazil confronts higher inflation and signs of tapering growth, collectors keep bidding record sums for Brazilian modern and contemporary art. In May, Phillips in New York sold Ms. Clark's 1959 black-and white abstract, "Against Relief (Object No. 7)," for $2.2 million, the most ever paid for a work of Brazilian art.

                                  

Pedro Barbosa's collection includes 'Fine Tapestry' by Adriano Costa Adriano Costa/Mendes Wood DM, Sao Paulo

The auction record still represents a fraction of what China's counterpart collectors have paid lately for their own masterpieces, so market-watchers say Brazilian art still has plenty of room to grow, price-wise.

All this attention is pointing a bigger spotlight on the handful of Brazilian contemporary collectors who have positioned themselves as regional kingmakers, such as Mr. Barbosa. "The galleries look at everything Pedro is buying," said Mr. Freitas, the collector who saw the tires with him in Basel.

One of Mr. Barbosa's latest moves is telling. In September, he invited a curator from London's nonprofit Chisenhale Gallery, Polly Staple, to visit Brazil. He helped pay for her stay, and one morning he picked her up from her hotel for a tour of a few nonprofit art spaces and galleries. He had borrowed his wife Patricia Moraes ' black SUV for the occasion: "Welcome to an armored, bulletproof car," he said, chuckling, as Ms. Staple climbed in.

First up was Pivô, a nonprofit art incubator that opened last year in a former dentist's office inside architect Oscar Niemayer's undulating Copan building in downtown São Paulo. Next, they stopped by Galeria Vermelho—vermelho means "red" in Portuguese—to see a group show with artists like Cildo Meireles exploring issues of crime. The gallery had been robbed the week before, but the thief only took a CD player, so Vermelho didn't press charges. "The guy didn't think to steal the art," said dealer Akio Aoki.

An untitled work by Francesca Woodman Francesca Woodman/Mendes Wood DM, São Paulo

Mr. Barbosa also took Ms. Staple to meet Jaqueline Martins, a new dealer who specializes in selling São Paulo artists from the 1970s who have since been "overlooked" by the market, Mr. Barbosa said. Ms. Martins' roster includes Genilson Soares, a conceptual artist in his 70s who was once hailed for making large geometric installations often employing colored lighting and optical illusions. A few weeks after Mr. Barbosa's guided tour with Ms. Staple, Ms. Martins displayed one of Mr. Soares's oversize triangle works from 1973 at London's Frieze Art Fair—even though it wasn't technically for sale. "I bought that a month ago," Mr. Barbosa said. (He paid around $20,000.)

In São Paulo, Mr. Barbosa is well known for scouting Brazilian art schools and often buys pieces from promising students—a collecting tactic that's commonplace in New York but still relatively rare in São Paulo, dealers say. Local gallery Mendes Wood DM recently signed up one of his latest discoveries, sculptor Michael Dean. When Mr. Barbosa created an artist residency, one of the first artists he invited was Ms. Pica, another early find who just had her first U.S. solo museum show at the Museum of Contemporary Art in Chicago. Next up: New Yorkers Ken Okiishi and Nick Mauss.

Mr. Barbosa doesn't move through art circles with the panache of some of his countrymen, though. He is a millionaire, but he can't spend apace with Brazil's best-known collector, Bernardo Paz, a billionaire mining magnate from the Belo Horizonte region who reportedly spends $60 million a year commissioning and installing artworks throughout his vast jungle compound called Inhotim. Mr. Barbosa said he usually spends between $8,000 and $250,000 apiece on his art purchases. Still, he has found other ways to stand out.

A few weeks ago, Mr. Barbosa attended the opening party for the Mercosul Biennial in the southern Brazilian city of Porto Alegre. The event was held at the hilltop mansion of the biennial's president Patricia Fossati Druck, with partygoers like steel titan Jorge Gerdau Johannpeter dressed in designer suits. By contrast, Mr. Barbosa showed up wearing bluejeans, a baby-blue gingham shirt and Pac-Man cuff links. Shunning the glowing swimming pool and bar set up nearby to serve Brazil's favorite sugary cocktail, the caipirinha, Mr. Barbosa spent the night huddled on the lawn with artists like Mario Garcia Torres and Inhotim director Eungie Joo.

Related

• Four Rising Global Collectors
• China's Museum Moment
• A Heated Auction Season

Ms. Joo mentioned her favorite piece in the biennial was a rusty landscape installation by Brazilian artist Cinthia Marcelle —at which point Mr. Barbosa leaned toward her and whispered, "I might have the best collection of Cinthia's work." Ms. Joo's eyes widened, and she grinned her approval.

Half of São Paulo's 40-odd contemporary-art galleries are less than five years old. Mr. Barbosa knows the strengths and weaknesses of their rosters better than anyone, said Buenos Aires collector Mauro Herlitzka. This market intelligence gives Mr. Barbosa's collection a competitive edge. But as Mr. Barbosa's collection takes in more artworks from beyond Brazil, his ancillary costs have also mounted. Because of Brazil's punishing import-tax laws, he must pay up to 50% above a foreign artwork's sale price just to bring it into his country—a markup he may not be able to recoup unless the art's value appreciates significantly over time. Dealers say some Brazilian collectors have found ways to avoid these import taxes by buying and storing pieces abroad or smuggling them into their luggage. Mr. Barbosa said he buys from the local SP-Arte fair, where taxes are typically discounted by the government. He said he also has proof he has paid the appropriate fees for everything displayed in his house.

Mr. Barbosa and his wife Patricia, who is head of investment banking for JP Morgan in Brazil, and their two children live in a cream-colored, two-story house on a leafy block in the wealthy São Paulo district of Jardins. Throughout their home, they have arranged a mix of sleek, geometric pieces by contemporary classics like Sérgio de Camargo and Jesús Rafael Soto alongside newer sculptures made from ordinary materials like hair curlers. In their backyard, a pair of conjoined shopping carts by Marcelo Cidade stands sentry beside the pool. On a bench in their living room sits a row of handbags that were dipped in concrete like candlesticks by Mr. Tabet, the artist from Lebanon. Even the walls of the children's bedrooms have been commandeered for art: "Sometimes my son complains, but I run a dictatorship," Mr. Barbosa said, grinning.

His own introduction to art was considerably less in-your-face. His father was a high-school gym teacher who only wanted his three children to get a solid education, which they did. Mr. Barbosa's first cousin was a major art dealer, Raquel Arnaud, but he said he rarely hung out in her gallery growing up—he preferred to hang out in nearby Ibirapuera Park and sell ballpoint pens to his friends for a profit. (He stuffed the clear pen cases with shredded currency to add cachet.) After he married in 1999 and settled into a life as a banker specializing in emerging markets and depressed bonds, he started buying art.

His first piece was a $20,000 Soto that he bought from his cousin, but he later switched to buying cheaper pieces by younger living artists, and he's largely stuck to that pattern ever since. When he finds an artist with potential, he tells them he likes to buy several works at a time, but he warns them he will likely stop collecting their work after they turn 40. He said he does this because it compels him to keep seeking fresh talent rather than pay ever-higher premiums for examples by artists he already owns.

Increasingly, Mr. Barbosa is looking farther afield for his art. The shift started in 2008 when he went to Frieze in London for the first time and marveled at how few collectors had turned up in the wake of the Lehman Bros. closure weeks earlier. Walking around the fair's vacant aisles, he realized he could ask galleries for steep discounts if he was willing to broaden the scope of his collection beyond Brazil. He took home pieces by Mr. Eliasson and Tomas Saraceno.

Last year, he ratcheted things up again by hiring his curator, Mr. Visconti, who has planned Brazil's pavilion for the Venice Biennale. Besides paying Mr. Visconti an undisclosed monthly retainer, Mr. Barbosa pays him to travel and inform him about artists to consider. The pair now invites young curators to mount shows of Mr. Barbosa's collection.

In a few more years, the plan is to publish a book about these shows—yet another way Mr. Barbosa hopes to lend lasting credibility to his collection. It's a tactic museums have been using for years, after all. "I don't want to spend too much on the parts," he said. "I'm more interested in the whole."

Write to Kelly Crow at kelly.crow@wsj.com

The George Lindemann Journal

The bond between dealer and artist can be a kind of love affair, with its attendant passions and confidences, interests and intrigues. Such was the case with the sculptor Alexander Calder and Klaus G. Perls, who represented him from 1954 until Calder’s death in 1976. The two frequently dined and traveled together, and visited each other’s families. When Calder came to Manhattan, he often stayed at Perls’s Madison Avenue townhouse.

“He trusted him completely,” said Calder’s grandson Alexander S. C. Rower, who added that he himself considered Perls and his wife, Amelia, “a dear aunt and uncle.”

But now that bond has dissolved into a bitter dispute between the families of the two men.

In a recently amended complaint filed in New York State Supreme Court, the Calder estate says the Perlses surreptitiously held on to hundreds of Calder’s works and swindled the artist’s estate out of tens of millions of dollars. Perhaps most surprising, it says that Perls, a dealer with a sterling reputation who campaigned to rid his industry of forgeries, sold dozens of fake Calders. The suit depicts Perls as a tax cheat who stashed millions of dollars in a Swiss bank account, a secret his daughter said she maintained by paying off a former gallery employee with $5 million. She added that Calder had his own hidden Swiss account.

Mr. Rower, seated in the Chelsea headquarters of the Calder Foundation, surrounded by small black-and-red maquettes made by his grandfather, reflected on the case one recent afternoon. “It’s really kind of heartbreaking that they turned out to be thieves,” he said of Klaus and Amelia Perls.

Steven W. Wolfe, a lawyer for the Perls side, declined to comment, saying a judge’s ruling on pending motions was imminent. But in court papers, he described the Calder lawsuit as a “sham and manufactured claim.” He characterized it as a fishing expedition, one that is finding only the sort of gaps in records that are normal when tracking 25-year-old transactions from a gallery that has been closed for more than 15 years. The Perls family has asked the court to dismiss the case, also arguing that the statute of limitations has expired.

That this close partnership has devolved into a lawsuit is a sorrowful development. While Calder is renowned as one of the 20th century’s most innovative artists, Perls has his own corner in the history of modern art. He was a pioneering collector of African art, and donated dozens of those pieces, as well as $60 million worth of masterworks by Modernists like Picasso and Modigliani, to the Metropolitan Museum of Art.

When Perls died five years ago, at the age of 96, that museum’s director called him “a connoisseur and a scholar,” a “distinguished honorary trustee, donor and friend.”

Although many of the most surprising accusations surfaced in additional papers filed over the summer, the legal dispute began three years ago with a chance discovery. In 2010, a Canadian gallery contacted the Calder Foundation, of which Mr. Rower is chairman, about a $1.5 million wooden mobile titled “Standing Constellation.” It had been purchased from the Perls Foundation, a trust set up after the Perls Gallery closed in 1997. Mr. Rower said he was puzzled because “Standing Constellation” had not been listed on an inventory of holdings provided by the Perls Gallery after Calder’s death, nor had the Calder estate received any payment from its sale.

Mr. Rower, who has spent more than 15 years compiling the definitive catalog of Calder’s work, examined the Calder Foundation’s provenance records and said he found several other works in the Perls inventory that were later sold without the estate’s knowledge. Many were listed as being consigned by a woman in Switzerland known only as “Madame Andre.”

Mr. Rower said he was already frustrated with the dealer’s family because it had not turned over a large bundle of archives, drawings and monogramming tools used by Calder to sign his works that Amelia Perls, who died in 2002, had previously promised in a letter to give him. So in 2010, the Calder family sued the Perls estate; the dealer’s daughter, Katherine Perls; and “Madame Andre” for the archives and the works missing from the inventory.

As the estate began to dig, however, it made several discoveries.

First, “Standing Constellation” was only one of nearly 700 Calder bronze sculptures, jewelry and other works worth well in excess of $20 million that had been in the Perlses’ hands and are unaccounted for, court papers say.

The Calder estate also learned that the gallery kept at least two sets of books — a practice that the Perls side said was not unusual. Then it came out that the mysterious “Madame Andre” was not a person at all, but a nickname for the Perls Swiss bank account. As Katherine Perls acknowledged in an affidavit, “Madame Andre” was a euphemism for her father’s Swiss account, “perhaps even a humorous or shorthand reference for this account, or to avoid disclosing to others who were present that he did have this Swiss account.”

Ms. Perls added that Calder, too, kept a Swiss bank account, to which Perls regularly transferred the artist’s profits. In court papers, Mr. Wolfe, the Perls lawyer, said, “Alexander Calder and Klaus Perls were kindred spirits in that they both had an aversion to paying taxes.”

Mr. Rower said that he has found no record of such an account and that the estate has never received any assets from it.

Ms. Perls, in a deposition, dismissed the assertion that her family had hidden anything from Calder or his estate. While the original ledgers are missing, she said a copy shows that, in 1970, Calder gave “Standing Constellation” to her mother as a gift.

Ms. Perls has acknowledged that when a gallery employee, Douglas Mayhew, sued the family for severance worth $10 million in 2005, she feared he would reveal the hidden accounts in Switzerland to the I.R.S. and expose her aged father. As a result, she said, she agreed to pay Mr. Mayhew $5 million after taxes. According to court papers, she said she believed she was “being blackmailed.” Michael R. Gordon, Mr. Mayhew’s lawyer, declined to comment.

When the government instituted a tax amnesty program in 2009 for Americans who were hiding money in offshore accounts, the Perls estate applied, court papers show, and a settlement was reached.

Mr. Rower said the disturbing discoveries continued. In a deposition, Mr. Mayhew said that the Perls Gallery had sold approximately 30 fake Calders. Mr. Rower said that he is not sure whether such sales were intentional but that he knows the gallery had to settle some claims related to the sale of counterfeits in the 1980s.

“I was in there when someone walked in who had bought a fake,” Mr. Rower recalled.

But the number of these sales astounded him. By going through the foundation’s records and analyzing photographs of supposed Calder works, some of which were linked to known forgers, he said he has determined that the gallery handled at least 61 counterfeits.

Ms. Perls said in a deposition that she is convinced that her father never knowingly sold any fakes.

The Calder estate’s lawsuit contends that some illicit proceeds — from the sale of counterfeits and misappropriated Calder originals — were used to purchase the modern and African art that Perls gave to the Met, although the papers do not contain any specific evidence. The museum declined to comment.

James Goodman, a veteran dealer who was one of the founders, with Perls, of the Art Dealers Association of America, said he remains skeptical of the accusations, adding he always knew Klaus Perls to be an honorable dealer.

Mr. Rower says he came to his conclusion about Perls reluctantly. “It gives me no pleasure to talk about this,” he said, but “there is just example after example after example after example of misdeeds.”

By PATRICIA COHEN

Published: October 29, 2013

The Gang’s All There, Talking Art in Qatar

Eyes in Doha Are on Damien Hirsts and Warhols

Natalie Naccache for The New York Times

The Qatar Museums Authority’s Al Riwaq exhibition space in Doha is decorated as a giant Damien Hirst spot painting.

                                                                                                                

Balance the buzz and the business: That seems to be the motto of the 11th Frieze London art fair. Concerned that the crowds and parties were starting to elbow out sales, organizers are aiming for a smaller, more focused event.

They have cut by 20% the number of available tickets, including those for VIPs, and reduced the number of galleries presenting their works to 152 from 175 last year. Meanwhile, some galleries that formerly brought in a range of artists are turning to one-artist booths to boost the profiles of lower-priced new or middle-market artists.

The vaunted party scene, second only to Art Basel Miami Beach on the art-fair circuit, is a double-edged sword, some galleries say. "A lot of people don't realize that dealers aren't there just to hang out. This is a huge part of our business," says Cuban-American dealer Javier Peres, who has shown at Frieze London since 2004. He sat out last year—a move prompted by uneven sales and the fact that many of the fair's 55,000 visitors were only window-shopping—but his gallery will be back on Wednesday, when the five-day fair begins.

The cutbacks are meant to "make the fair more luxurious," says Frieze London's co-founder and director Amanda Sharp.

Some things will be the same: Large galleries with stables of high-profile artists typically opt to show a sampling of fresh work at Frieze. U.S.-based Bloom & Poe will offer a $400,000 painting by Takashi Murakami, while Austrian dealer Thaddaeus Ropac is bringing a $1.8 million abstract sculpture by Georg Baselitz.

In previous years, many dealers say, visitors ended up suffering from "fair fatigue"—overwhelmed by the number of galleries and artists represented. To counter this, the New York-based Marianne Boesky gallery is focusing on just one artist: 11 works on paper and oil paintings by Russian-born artist Kon Trubkovich. His eerie, blurry images, often preoccupied with incarceration, range from $9,000 to $65,000.

Gerd Harry Lybke, whose Leipzig, Germany, gallery Eigen + Art represents Neo Rauch, says a safe bet would be bringing to Frieze the superstar painter's works, which range from about $160,000 to $950,000 on the primary market. But many Frieze visitors already know Mr. Rauch's work, and it is a better long-term strategy to introduce them to a less familiar figure, Mr. Lybke says. He says he hopes to raise the profile of Mr. Rauch's contemporary Uwe Kowski, whose works, often hovering somewhere between representation and abstraction, range from $2,700 to $80,000.

It is a risky move at a fair where an average-size booth costs around $35,000—not including thousands more for art transport and lodging. "If you go to a fair like Frieze and don't earn money, you're screwed," says Mr. Lybke. "I'm bringing two people whose sole jobs are to concern themselves with Uwe's work and explain it to you in a few sentences."

Lisson Gallery is hosting a solo booth of only one work, asking around $600,000 for an installation by Dan Graham, an American artist in his 70s.

While Frieze London cuts back, Frieze Masters is adding 30 galleries for 131 overall. The sister fair, which runs simultaneously, launched last year to show works created before 2000 and racked up strong sales figures, including Van de Weghe Fine Art's sale of an $8.5 million Pablo Picasso painting and a 1968 Joan Miró sold by Helly Nahmad for around $20 million.

Simon Dickinson is one of a handful of galleries leaving the smaller Pavilion of Art and Design, another London-based autumn fair, for Frieze Masters. Director Emma Ward says her gallery will be bringing 30 works including "Study for Discs," a 1919 oil painting by Fernand Léger priced at around $9.6 million.

Meanwhile, Acquavella Galleries is upping the ante with Picasso's 1949 "Woman Sitting," offered for around $20 million, and a 1950 Francis Bacon for around $11 million. Zurich-based David Koetser will be bringing a $6.2 million oil on copper by Jan Brueghel the Elder.

Many of the new galleries are major players who held back last autumn to see if the fair took root. "We had nothing to base the caliber of the fair on," says Sukanya Rajaratnam, a partner at Manhattan's Mnuchin Gallery and a 2012 holdout. But she was "blown away" by last year's "boutique atmosphere" and is bringing a dozen works on paper, bronzes and oil paintings by Willem de Kooning, including a 1983 painting selling for $8 million and a 1973 sculpture for $8.5 million.

Write to Mary M. Lane at mary.lane@wsj.com

Loeb. (Courtesy PMC)

Last week, Daniel Loeb’s activist hedge fund, Third Point Partners, which weighs in at a hefty $15 billion, increased to 9.3 percent its share in Sotheby’s (aka BID) stock. Another activist fund, Marcato Capital Management, owns about 6 percent of the auction house, and billionaire Nelson Peltz of Trian Fund Management owns another 3, putting about 19 percent of the company shares in “hostile” hands.

Right on cue, Mr. Loeb wrote one of his classic letters excoriating BID Chairman Bill Ruprecht for his extravagant perks and salary while demanding that he step down in favor of a new management team and a few Third Point appointed directors.

By Friday morning, Mr. Ruprecht had dug in his heels, announcing that the company he chairs had taken a “poison pill.” This is not an uncommon defense mechanism for public companies; poison pills are intended to dilute the value of the stock by flooding the market with additional shares if a hostile buyer goes over 10 percent. But one can’t help but savor the irony, in Sotheby’s case, that a company that specializes in making or faking bidding wars for art should create obstacles for professional investors who want to bid up the company’s shares. BID is currently up to more than $50 per share, a nearly 47 percent increase over its share price at the beginning of this year, so even if this is all smoke and mirrors, the sizzle is working on the street.

If Mr. Loeb’s track record outside the art world is any indication, we may well see BID achieve $60 or even $70 per share, a market capitalization of $4.5 billion to $5 billion. Third Point has delivered outstanding results for its investors since Mr. Loeb founded the firm in 1995. Mr. Loeb has made a habit of tilting at large companies, most recently his 7 percent position in Sony and his subsequent demand that it split the entertainment business from the rest of the company: The split did not occur, but the stock did go up handsomely. In the case of Third Point’s investment in Yahoo, Mr. Loeb was successful in bringing in a new CEO and literally doubling the stock price, a big win for both shareholders and investors in his fund.

But is BID really worth it? Is the company as old-fashioned and stodgy as Mr. Loeb and his co-investors believe—in his own words, an “Old Master painting” badly in need of restoration? As Mr. Loeb pointed out in his scathing letter, BID has lagged behind its archrival, Christie’s, in both market share and the hunt for top lots to feature in major biannual evening sales. Christie’s has set more records recently for blue-chip artists like Calder, Yves Klein and Jean-Michel Basquiat. Meanwhile, Sotheby’s achieved lackluster results for a large Barnett Newman painting featured last season. Consigners have responded to Christie’s momentum by bringing valuable artworks to the block, like Jeff Koons’s Balloon Dog, estimated to sell for $35 million to $55 million in a Christie’s sale next month. Sotheby’s has parried with a major Warhol disaster diptych in its corresponding November sale, but silver paintings from the ’60s don’t have the same spark.

Would that Newman painting have done better at Christie’s? There is one macro difference between the two companies, from which many other differences stem. Sotheby’s is publicly listed on the New York Stock Exchange, and Christie’s is a private company controlled by the French art collecting luxury goods tycoon Francois Pinault. In 2009, in the wake of the financial crisis, Christie’s continued offering consignors juicy guarantees for major evening sale lots, even if it then tried to lay them off on third parties, locking in profits for the house. Mr. Ruprecht, wanting to sound more prudent, told the stock market that Sotheby’s would no longer offer guarantees, because the company had been so badly burned in evening sales of November 2008.

Mr. Ruprecht’s approach might have sounded good to myopic Wall Street types who see the art market as fraught with risk and view the art business as narrowly as any other business, but the strategy was wrong.

Art is a fashion-driven business prone to either feast or famine, and star lots and market share are critical in maintaining the appearance of success, even when fierce competition leads to side deals where house premiums sometimes get cut to the bone. Though art collecting has grown globally, and prices have risen overall, every artwork, and each artist’s individual market, tells a different story; the line between a world record sale and a flop is all too often razor-thin. In order to remain at the top of their game, the auction houses must charge after those few lots in a season that have the potential to make headlines. Having no one to report to but Mr. Pinault, Christie’s was able to be more nimble, despite an uncertain world economy.

Since the epic disaster of the painfully absurd “price fixing” scandal back in 2000, Sotheby’s and Christie’s have developed very different styles of doing business. Sotheby’s acts like a European academic institution where department heads are virtually tenured and there is limited incentive or leeway for underlings to go hunting for deals. This feeling is palpable as one walks into the building; behind the information desk are tight-suited staffers who insist on asking where you are going before they let you up the elevator. There is a British, clubby feeling of privilege and stuffy pedigree; it’s a place where you, the nouveau riche, have come to ogle the dusty treasures of the refined Old World while the natty experts stand aloof as if you have interrupted their rereading of Proust.

Christie’s is considerably warmer. Until recently, a genial, mustachioed doorman, Gil Perez, welcomed you. (Sadly he retired last year.) You walk into a labyrinth of art for sale. Sometimes, large pieces are plopped awkwardly in front of the building. One is never really sure which of the experts is the department head, but they are always in a rush, as if you are talking to them in an airport and they have just a few minutes between flights.

Fine art has traditionally been marketed in the buttoned-up, European manner, and Christie’s lack of hierarchy and more democratic approach has made some new buyers feel less like they are trying to get into a club where they know they are not welcome. I happen to favor the snottier style—as Groucho said, I wouldn’t join any club that would have me as a member—but times have changed, and the social dynamic of collecting is more powerful than ever. Sales are not just about the quality of the works or an elegant, sophisticated presentation. Aggressive marketing, over-the-top parties and elaborate catalogs have raised the stakes of this expensive battle.

Still, Sotheby’s is the premier name in art. It has been around since 1744. I would guess that the name alone is worth at least $1 billion, or about $14 per share. For the value of Sotheby’s to be maximized—and for it to exist on a level playing field with Christie’s—it would likely have to go private or be merged into a larger entity. Look at eBay, which has a market cap of $72 billion; sources tell me it is looking to expand its presence in art. It could easily swallow up Sotheby’s and instantly change the value and global reach of the company. Far-fetched? I don’t think so. EBay certainly knows how to build efficient online selling platforms. Then there’s the more natural and obvious fit with Bernard Arnault’s LVMH luxury conglomerate, which sports a market cap of $72.66 billion. Here’s a company that knows how to maximize brands globally and is not afraid to take on fixer-uppers with great brand strength and identity. Mr. Arnault gave auction house ownership a go when LVMH financed Phillips from 1999 to 2002—maybe he has learned from that lesson and is ready for another round. And perhaps Mr. Arnault would enjoy challenging Christie’s and the Pinault family, his archrivals in luxury retail.

Every system benefits from being challenged, and I believe the present firefight will benefit Sotheby’s and in fact already has. But don’t expect it to last long: The art world is a lot smaller than outsiders believe. Don’t be surprised if New Canaan’s own Mr. Ruprecht and the Upper West Side’s influential Mr. Loeb kiss and make up. Yesterday’s archenemies can be tomorrow’s BFFs when there is money to be made.

Art, From Conception to Birth in Qatar

Damien Hirst’s Anatomical Sculptures Have Their Debut

By Natalia V. Osipova

Damien Hirst Sculptures Unveiled: On Monday, the British artist Damien Hirst unveiled 14 monumental bronze sculptures in Doha, Qatar. The installation is considered a particularly bold move by the Qatar Museums Authority.

By CAROL VOGEL

Published: October 7, 2013

DOHA, Qatar — For weeks, 14 giant balloons had been mysteriously parked in front of the Sidra Medical and Research Center, a hulking steel, glass and white ceramic building devoted to women’s and children’s health that is to open on the outskirts of this city in 2015.

At 7 on Monday evening, to the amplified sound of a beating heart, members of Qatar’s royal family, government officials and local artists watched as each balloon, bathed in purple light, opened like a giant flower to reveal an unusually provocative public artwork. Called “The Miraculous Journey,” it consists of 14 monumental bronze sculptures, by the British artist Damien Hirst, chronicling the gestation of a fetus inside a uterus, from conception to birth, ending with a statue of a 46-foot-tall anatomically correct baby boy.

Even for a Persian Gulf country that is aggressively buying its way into modernity, this installation takes official acceptance of Western art to a new level. Local women still adhere to centuries-old Islamic traditions, wearing the abaya, a long cloak, and niqab, or face covering; images of women are routinely censored in books and magazines. Even the representation of the human form is unusual.

To commission such an audacious work of art is considered a particularly bold move for Sheikha al Mayassa Hamad bin Khalifa al-Thani, 30, chairwoman of the Qatar Museums Authority and a sister to the new emir of this oil- and gas-rich state. The sculptures are reported to have cost $20 million.

“To have something like this is less daring than having a lot of nudity,” said the sheikha, interviewed on Monday morning in her office at the Museum of Islamic Art, a modern, sun-filled space with sweeping views of the gulf. “There is a verse in the Koran about the miracle of birth,” she said. “It is not against our culture or our religion.”

Rather, she sees the sculptures as an extension of her mission to create a platform for contemporary artists from around the world, transforming this city of gleaming skyscrapers and sandy beaches into a center for arts and culture. Whether the public likes it or not, she believes, “it’s important to have an ongoing conversation.”

The museums authority has also organized a giant retrospective of Mr. Hirst’s work, “Relics,” which opens on Thursday.

Known as one of the most powerful forces in the international art world today, with exceptional buying power and forward thinking, Sheikha al Mayassa is a vocal advocate of contemporary art and arts education. She has been criticized by some as brazen or for embracing only celebrated artists, yet is praised by others for her commitment to the art of the new.

“She’s brave to introduce new visuals and new thoughts, especially in Doha, which is more conservative than other Middle Eastern cities,” said Nada Shabout, a professor of art history at the University of North Texas who works with the Arab Museum of Modern Art here. “Most of the Arab world has not seen public nudity. Sex is not taboo here, it’s just a very private affair. I have no idea how the public will react to these sculptures.”

Generally, the public does not take to the streets to voice disapproval and is considered unlikely to deface any public artwork. Instead, residents seize on social media platforms, like Twitter or blogs. After a 16-foot-tall bronze sculpture depicting one soccer player head-butting another was installed last week on the Corniche, a popular waterfront promenade here, some residents called online for its removal on the grounds that the sculpture, by the Algerian artist Adel Abdessemed, offended religious sensibilities. The sheikha shrugs off the criticism, saying that contemporary art is vital to the city’s landscape.

Purposely provocative, Mr. Hirst, 48, was long controversial in his own country, known for startling works that have included rotting cows positioned to simulate copulation; sharks and sheep preserved in formaldehyde; maggots attacking a cow’s head; and medicine cabinets full of hundreds of different kinds of drugs. Yet, in recent years, exposure to his work has been oversaturated in the United States and Europe.

He is fascinating to many, nonetheless, in a city like Doha. Sheikha al Mayassa recalled visiting Mr. Hirst’s studio in Gloucestershire, England, around 2009 and asking him to consider creating an outdoor sculpture.

Mr. Hirst showed her some drawings of prenatal and natal development he had made in 2005, from sperm to fetus to newborn. “I had always envisioned them to be monumental sculptures, and the sheikha had the idea of putting them in front of a woman’s hospital,” he said. (The installation’s full title is “The Miraculous Journey (2005 to 2013).”

It was a commission fraught with secrecy. “The first meeting I had with the architects, I was not allowed to tell them what the sculptures were because they wanted it to be a surprise,” he recalled. Most of the work, which took three years, was carried out in his studio in England.

There is nothing secret about them now: he positioned the sculptures so they can be seen both from the motorway and the desert. Together they weigh a total of 216 tons.

Wearing scruffy blue jeans and a white T-shirt, Mr. Hirst was watching workers put the finishing touches on his retrospective at Al Riwaq, a nondescript building — now covered in his signature dots — that is next to the Museum of Islamic Art, which was designed by I. M. Pei and opened in 2008.

Mr. Hirst said he became fascinated with childbirth after having children of his own. “Everyone talks about our life’s journey, but we have a whole journey before you’re born,” he explained.

Both Ms. Shabout and Zainab Bahrani, a professor of Near Eastern art and archaeology at Columbia University, pointed out that depictions of naked women bathing have been common throughout the history of Islamic art — for example, in ancient illuminated manuscripts. Such images are not, however, readily available to the population here.

“People are not aware here that it has a long tradition,” Ms. Shabout said.

Ms. Bahrani said: “I am sympathetic to the fact that art makes us feel uncomfortable, can challenge. On the other hand, you don’t want to shock. So it’s a fine line.”

But to Sheikha al Mayassa, it is one more step in the process of introducing art to Doha. Already she is planning two more museums here: the National Museum of Qatar, designed by Jean Nouvel, and the Orientalist Museum, designed by the Swiss architects Herzog and de Meuron.

Although the sheikha declined to confirm or deny the reported cost of Mr. Hirst’s sculptures, she said the outlay was “not a crazy number.”

“For us, it’s about the bigger picture,” she said. With an impish grin, she added: “Although he denies it, I think the baby is really Damien. It looks like him.”

When winds kicked up the other day, the balloon shrouding the baby boy accidentally blew off. Mr. Hirst, who was in London at the time, received an e-mail from Sheikha al Mayassa that read:

“Your baby appears to want to come early.”

By Hannah Sampson

hsampson@MiamiHerald.com

Janet Cardiff’’s sound installation “The Forty Part Motet,’’ 40 loudspeakers in an oval in the Fuentidueña Chapel at the Cloisters in Upper Manhattan.

By JIM DWYER

Published: September 19, 2013

Wobbling, blissed out, a few in tears, people emerged every 12 minutes or so from the remnant of a 12th-century Spanish chapel tucked into the Cloisters museum.

Something had happened there, up on a hill at the northern end of Manhattan.

“It’s too soon to talk,” Margaret Cardenas said as she left the chapel.

“Too raw,” said another young woman, Alyssa.

Inside the ancient chapel was the first presentation of contemporary art ever at the Cloisters: “The Forty Part Motet,” an 11-minute immersion in a tapestry of voice, each thread as vivid as the whole fabric. A sacred composition of Renaissance England is rendered by the multimedia artist Janet Cardiff through 40 speakers — one for each voice in the Salisbury Cathedral Choir, which performed the piece in 2000. What started as one microphone per singer is now a choir of black high-fidelity speakers arrayed in an oval, eight groupings of soprano, alto, tenor, baritone and bass.

In the intimate space of the museum’s Fuentidueña Chapel, the sound, from invisible people, as if from ghosts, feels like charged, living sculpture. Through Dec. 8, it plays in a loop all day.

Ms. Cardenas, 24, had stayed in the chapel through four full cycles, walking along the ranks of speakers, then sitting on a bench in the center.

“I’m kind of out of it — I can’t articulate it,” she said. “Each speaker is a different person. It’s not something you think about: you feel it.”

In a moment, she found the word.

“Transcendent,” she said.

Ms. Cardenas was visiting the East Coast from Oregon for a wedding, and came to New York this week specifically to see a monumental installation by James Turrell in the rotunda of the Guggenheim Museum. Then she heard about the Forty Part Motet and trekked uptown. “This is cooler, honestly, than Turrell,” Ms. Cardenas said. “I was super fortunate to get to see both.”

Others stumbled onto the “Forty Part Motet” while doing a lap around the city museum circuit. No one who sets foot inside the Cloisters can miss the sounds; although they are at their most powerful within the jeweled acoustic space of the chapel, they soar through the building.

“We had no idea it was here, and then we heard it all along as we went around the exhibits,” said Bengt Ehlim, who was visiting the city from Sweden with his wife, Susanne. She seemed to be stepping out of a trance.

“I am so really moved,” Ms. Ehlim said.

The core of Ms. Cardiff’s installation is a motet, “Spem in Alium,” a Latin fragment of the phrase “In No Other Is My Hope,” composed by Thomas Tallis sometime in the 16th century. Its transformation into the “Forty Part Motet” has been exhibited at MoMA PS1, the museum’s space in Long Island City, Queens.

“I’d seen it at MoMA, and the gallery was very neutral,” Jeff Gray, 33, a computer programmer and musician, said outside the chapel. “But there’s nothing like this kind of space, the resonance of brick with wood roof. The kind of ghost qualities are a lot more apparent here. Everything bounces a lot more: you hear a voice over here, and you kind of feel it float around you.”

He was accompanied by Etta Yuki, who works in independent film. The sensations, she guessed, were what the director of an orchestra would feel. “And seeing it in a place like this puts it in a spiritual context,” Ms. Yuki, 36, said.

Sampled from the familiar, the sum of the ancient sound and space arrives in modern ears and eyes like nothing else: not like hearing a church choir, not like listening to music on a superb sound system.

“I’ve sung in English church choirs, and I know what it’s like to be in a space with 40 people and singing something like this,” Norman Yamada, 50, a composer and high baritone, said. This was a different, slightly unsettling experience, he said; acoustically “dry” sound was reconstituted. “By close-mikeing each singer, you’ve got it very dry,” he said. “Then you put it back in this space, and it takes the coloring of the space.”

The space, of course, takes its coloring from history. The Fuentidueña Chapel was part of a castle-fortress complex in Segovia during the hundreds of years of war between Muslims and Christians in Spain. Ms. Ehlim, the Swedish visitor, had made the journey from her accommodations in the hectic East Village to the Cloisters looking for the opposite of war. “My sister told me this is a lovely place to go if you want to have some peace in New York,” Ms. Ehlim said.

A new color.

<img src="http://meter-svc.nytimes.com/meter.gif"/>

Escaping the Heat in Art’s Fortress

Karsten Moran for The New York Times

Chanel Baldwin, exploring the Brooklyn Museum after learning that admission fees were “suggested.”

By ANAND GIRIDHARADAS

Published: August 22, 2013

CHANEL BALDWIN’S eyes sipped on that painting and only that painting, because it was what was available to her on this side of the money line.

On steaming afternoons for much of the season, Ms. Baldwin, who turned 16 on Thursday, parked herself after summer school at the Brooklyn Museum, a refugee seeking the asylum of air-conditioning.

Because she could not afford the $8 suggested student admission — one that she, like so many others, understood to be required — she never got further than the lobby. She helped herself to the bathroom and water fountain, though, and spent a lot of time gazing at the painting called “Napoleon Leading the Army Over the Alps,” by Kehinde Wiley. On Mondays and Tuesdays, when the museum was closed, she sometimes stood outside the glass doors that whispered puffs of cool air through their divide.

In a perfectly air-conditioned world, Ms. Baldwin’s art consumption might never have been. It was a boiling city that drove her into the frosty museum, and she’s not alone. In a city where culture is supposed to be king, New Yorkers in the summertime sometimes pop into a museum mostly to escape the heat. They come for the air but can grow to love the art, too.

Ms. Baldwin’s confinement to the lobby has made her something of an expert on that Napoleon painting — one of the few works hanging before the place where you pay. First she saw the obvious: A black man with Timberland boots had supplanted Napoleon in a riff on the famous painting by Jacques-Louis David. Then Ms. Baldwin saw the Starter brand wristband. Then she noticed the sperm cells swimming over the canvas. It made her wonder what the artist was trying to say about men of her race.

Ms. Baldwin could have remained at the school for chill air, but who wants to stay there a minute longer than you must? She could have gone home to her mother’s, not far away in Flatbush, but the miserly bedroom air-conditioners breathe too little into the living quarters. Here in the museum the air was different, almost lush. “It’s like when you’re getting into a pool, and they make you shower,” she said.

In the season now passing, museums in New York actively pursued people like Ms. Baldwin — potential visitors for whom liquid-cool air might have been a gateway drug to the art. On Twitter, where so many institutions speak more authentically than elsewhere, there were lures like “Beat the summer heat!” from @MuseumMileNYC, representing several institutions on Fifth Avenue. “Looking to beat the #NYC heat?” the Park Avenue Armory asked. “Beat the heat with our Store’s new Marilyn Minter water bottle & Jasper Johns beach towel,” the Guggenheim offered.

At the Museum of the Moving Image, in Queens, the chill seekers were easily detected: the ones with the soaking shirt backs, and those who sprinted in and asked the receptionist some variation of, “So what kind of museum you got here exactly?” During the heat wave, searing temperatures had driven most people from the surrounding streets, save for a crew of fluorescent-vested construction workers, belt deep in the chopped-up road, singing.

Over at the Metropolitan Museum of Art the next day, Nauman Shah, 25, was leaving French salon paintings on his way to Cypriot sculpture. For this Pakistani-born engineer, who works below earth on the Second Avenue subway project, the air-conditioning was especially important. He was observing Ramadan, the holy month of fasting for Muslims. He woke before dawn and gobbled breakfast, chased by four or five glasses of water — and then the fast. He had to conserve his hydration until 8:23 p.m. Ordinarily, he would have returned to bed, waking only for dinner. But a friend had persuaded him to go out, and they agreed on the Met over other activities, he said, in part because its cool air was almost as effective as sleep at forestalling thirst. It was aiding his monthlong quest, he said, to achieve “control over your soul and desires.”

Around this time, but in another wing, a bird, perhaps also fleeing the heat, fluttered overhead through Rooms 229 and 230. It jolted a teenage boy with a Germanic accent. He asked aloud, “Was that really a bird?”

Back at the Brooklyn Museum, Ms. Baldwin was hanging with Akeem Reuben, 16, her second cousin and another summer-school air-conditioning refugee. Ms. Baldwin was on her usual bench, where she perched because of her belief that it cost money to roam further. But the fee was only “suggested,” I told them. The cousins said no one had explained that before.

Next thing, the three of us were in line. When our turn came, I uttered the museum equivalent of “open sesame”: “No donation today, thank you.”

The gates parted. We received green tags to prove our bona fides. Ms. Baldwin and Mr. Reuben looked stunned: such a formidable barrier, so easily breached. Ms. Baldwin realized they had given her an extra admission tag. She made sure to return it.

Now what did the cousins want to see? “Statues,” Ms. Baldwin replied.

But she never made it there, because the first room set her alight and held her rapt until she had to leave. There was no label too tedious to read, no piece undeserving of her scrutiny. She couldn’t help touching some of the works.

“Look at the detail on it,” she said of a Fred Wilson mirror, gasping. Then over to a grid of shelves with dozens of jugs from around the world. Each column of jugs had a Rolodex-like set of descriptions. She and Mr. Reuben stood there and went through every last jug — reading the card, then looking up at the corresponding piece, then the next and the next. They had time.

A piece called “Avarice,” by Fernando Mastrangelo, gripped Ms. Baldwin. It appeared from afar like a classic Aztec sun stone. But she got up close. Traced her fingers over it. Went to one side, looked at it; went to the other side, considered it that way. She noticed that the piece was made of corn, and then detected a toothpaste tube, soda bottles and cowboy hats lurking on the surface, all crackling with meaning.

Watching her, I realized how the inadvertent exclusion from these rooms must have trained her eyes. Instead of cruising across many floors, she had stared at the Napoleon painting and a nearby sculpture until they had little to give. Having only them to consider had taught her how to see. Now her sight could be marshaled against anything.

But she was irritated with the museum. New York is run on the kinds of understandings that kept the cousins in the lobby, with so many places formally open to anyone but protected in their exclusivity by invisible psychic gates.

Ms. Baldwin suggested a more honest approach, since people tend to think you have to pay: “They should just put a sign out telling us that it’s somewhat free.” Either way, she pledged to inform all her friends.

As the cousins left the museum for the oven of the outdoors, two schoolmates crossed their path, heading inside. “What’s going on here?” one asked. It was the cousins’ first occasion to share their discovery.

Art Basel in Miami is one of many international art fairs. Olafur Eliasson’s “Your Shared Planet” at a booth there in 2012.

By GRAHAM BOWLEY