As d’Offay approaches 62, he and his wife Anne Seymour well deserve a different pace. She joined him originally from the Tate Gallery, and together they soared rapidly in the field of contemporary art, at a time when museums were distinctly tentative about post-l950s work. Their evacuation of conspicuous central urban space creates a meteor-sized void in the current galleries landscape, and people wonder at the real motivation. But surely the d’Offays have chosen their moment, supremely well paced as always. Perhaps they simply computed (a) age (b) market saturation (c) the new mega-museum scene, and came up with a red light: wise to step out before any cataclysm. Like old hand Thomas Gibson (and Kasmin who cottoned on long ago) they decided dealers no longer need actual real space, given a secure market segment. A vision now emerges, in New York and London, of international art brokerage pursued on the dealers’ floor, crammed with terminals and mega-sales, all electronically pursued in virtual reality. That’s enough, with the all-powerful but committee-driven mega-museums, to clinch any deal.
Anthony d’Offay once did Richard Demarco a kind of favour (really Joseph Beuys was the giver). One Edinburgh Festival in the 1980s, Beuys, with Demarco’s encouragement, selected broken down ‘poorhouse’ doors, sanctified them as a Beuys ‘found-object’, with a red light attachment (red sold sign?). Then Douglas Hall, at Edinburgh’s National Gallery of Modern Art, put them helpfully on temporary exhibition. Director Johannes Cladders saw the doors, and wanted to acquire them for his Moenchen-Gladbach Museum of Art in Germany, Demarco was to get the full price, and Cladders’ committee asked for a verification of the price. You guessed it, a dealer had to do this. D’Offay was invited to help. D’Offay willingly gave a proper (trade) valuation. All was philanthropic, all the way to the bank. The intermediary do-gooders (Beuys included) went off to the pub. But, wait a minute. Demarco got his life-raft cash sum (you guessed it) – but very net of dealer commission. No waivers here in the sacred cause. Such is all-round philanthropy and its ways in the world of art. Like the free lunch, the obligatory gallery visit to Dering Street or the walk down Albemarle Street, could soon seem as irrelevant as walking the dog. The gallery (broker) website can be visited on screen. The date the Times covered the event? Oh, yes … 11 September … that was.
Carlo Cardazzo – a new vision for art
A must-see exhibition at The Peggy Guggenheim Museum in Venice. Carlo Cardazzo, is now being honoured, marking the 100th anniversary of his birth. It is a name that should be known throughout the world to every student and teacher of modern art. Sadly, this is not the case.
Joseph Beuys: Actions, Vitrines, Environments
Joseph Beuys tested the international art world to breaking point throughout his career. Now, nearly 20 years after his death, he is questioning the capacity of the art world to do justice to his theories on art and his methods of making art, which have previously resisted the efforts of art gallery directors, curators and art conservators to preserve it from its inherent vulnerability.
RSA 181st Annual Exhibition
The Royal Scottish Academy (RSA) in Edinburgh has got in before the Royal Academy in London with its summer show. The RSA 2007 exhibition powerfully develops the 'Highlands and Islands' theme in contemporary art and sits well within global aspirations and directions.
Joseph Beuys 40th anniversary journey
No journey with Richard Demarco would be complete without reference to Joseph Beuys, an artist whose influence on him remains as vital today as his first encounter with Beuys in 1968 at Documenta 4, Kassel, when they did not speak.
10 Dialogues: Richard Demarco, Scotland And The European Avant Garde
10 Dialogues presents the innovative work of Richard Demarco from the late 1960s to the present day, in bringing European artists to Scotland and his promotion of Scottish artists in Europe