{"id":6625,"date":"2021-02-19T18:37:53","date_gmt":"2021-02-19T18:37:53","guid":{"rendered":"https:\/\/uaaglobal.com\/art-world-roundup-john-brandler-buys-nottingham-banksy-dlan-contemporary-launches-new-endowment-venetian-glass-bead-causes-archaeological-stir-and-more\/"},"modified":"2021-02-19T18:37:53","modified_gmt":"2021-02-19T18:37:53","slug":"art-world-roundup-john-brandler-buys-nottingham-banksy-dlan-contemporary-launches-new-endowment-venetian-glass-bead-causes-archaeological-stir-and-more","status":"publish","type":"post","link":"https:\/\/uaaglobal.com\/art-world-roundup-john-brandler-buys-nottingham-banksy-dlan-contemporary-launches-new-endowment-venetian-glass-bead-causes-archaeological-stir-and-more\/","title":{"rendered":"Art World Roundup: John Brandler buys Nottingham Banksy, D\u2019Lan Contemporary launches new endowment, Venetian glass bead causes archaeological stir, and more"},"content":{"rendered":"

In this week\u2019s Art World Roundup: Artfizz launches new art selling and buying platform that rethinks the secondary market, dealer John Brandler snags another Banksy, and D\u2019Lan Contemporary announces a new endowment to support Australian Indigenous artists. Meanwhile, Dolly Parton has asked that Tennessee not move forward with a statue honouring her, the CEO of the Indianapolis Museum of Art at Newfields steps down after a job listed sparks controversy and archaeologists<\/a> have found Venetian beads that may have made their way to North America before Columbus.\u00a0<\/b><\/p>\n

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There\u2019s a new arts platform on the block<\/strong><\/h6>\n

This week, a new platform for buying and selling art was launched that\u2019s rethinking the secondary market. Artfizz<\/a> is a \u201ccommunity-driven ecosystem\u201d making the art market more accessible for those looking to buy and sell contemporary art. Through Artfizz, sellers have the ability to curate their own auctions while those looking to buy \u201cfollow their own eyes and hearts.\u201d Perhaps most exciting about the new platform is that artists will benefit from the sale of their works. According to Artfizz, artist will receive 50 percent of the platform\u2019s 15 percent auction fee. Also, sellers can list works by more than 20,000 pre-approved artists (a number that will increase over times) without any listing or shipping fees. From submission to final listing, the process to put an artwork on Artfizz will take less than two weeks and there are be traditional bidding options as well as \u201cBuy It Now\u201d features. \u201cFor many artists, navigating the highs and lows of producing work and earning money is nothing short of an endurance sport,\u201d Executive Director and co-founder of Artfizz Matthew Dipple said in a press release. \u201cIt\u2019s one reason we want to always factor artists into what we do at Artfizz. The first step towards that is rethinking secondary market sales. Artists should profit from the entire lifespan of an artwork. It happens in other creative industries \u2013 why not the art world?\u201d In November of last year, Artfizz was used ahead of its launch for \u201cShow Me the Signs<\/a>,\u201d a benefit auction that supported the African American Policy Forum\u2019s #SayHerName Mothers Network.<\/p>\n

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A post shared by Artfizz (@artfizz)<\/a><\/p>\n<\/div>\n<\/blockquote>\n

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Banksy has left the building and Nottingham<\/strong><\/h6>\n

The Nottingham Banksy<\/a>, which popped up on the side of a Rothesay Avenue property last October has been sold to art dealer John Brandler, who\u2019s no stranger to buying a Banksy<\/a>. The mural is a black and white stencil painting of a girl using a bicycle tyre, a nod to the Raleigh Bicycle Company founded in Nottingham in 1887, as a hula hoop. The elusive street artist chained a bike missing its back tyre next to the mural adding context and a little comedy. Banksy laid claim to the work on Instagram a few days after it appeared. According to Brandler,\u00a0<\/em>he purchased the mural for \u201csix-figures\u201d before it was cut from its brick wall surroundings this week. The artwork will now head to Scotland where it will undergo restoration. Banksy has been vocal about his disapproval of the sale of his artworks and told the Nottingham rejuvenation board, the Nottingham Project, that he hoped the artwork would remain in the city. He\u2019s not the only one sad to see the artwork head out of the Midlands city. \u201cIt\u2019s sad to see it\u2019s leaving. I think it should stay in the area it was put in\u201d Alex Mitchell-Messam, who owns a shop nearby the artwork and saw it being installed, said<\/a> to the BBC<\/em>. \u201cBanksy travelled to Nottingham, he chose to put that artwork here when he could have chosen anywhere. It was great, bringing new faces to the area and having a vibrant effect.\u201d Brandler plans to include the Nottingham artwork in a forthcoming exhibition of street art later this year that will be held in Bury St Edmunds, Suffolk.<\/p>\n

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A post shared by Banksy (@banksy)<\/a><\/p>\n<\/div>\n<\/blockquote>\n

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D\u2019Lan Contemporary establishes endowment to aid Australia\u2019s Indigenous artists<\/strong><\/h6>\n

Australian gallery D\u2019Lan Contemporary<\/a> has announced the creation of The National Endowment for Indigenous Visual Arts<\/a> (NEIVA). In partnership with actor Steve Martin<\/a> and businessman Bruno Raschle, both of which are avid collectors of works by Australian Indigenous artists, the NEIVA was created with the aim of supporting Indigenous arts, fostering a more transparent primary and secondary market, as well as a sustainable market for Australian Indigenous art through a central trust fund. According to D\u2019Lan Contemporary, the NEIVA will \u201ccentralise and distribute proceeds from Australian Indigenous art sales directly back to artists, art schools that educate Indigenous artists, and the broader Indigenous communities.\u201d At the start of 2020, D\u2019Lan launched the Voluntary Resale Royalty Initiative, through which sellers were offered to opportunity to donate two and a half percent of sale proceeds back to Indigenous artists. Donations of up to five percent were match by D\u2019Lan Contemporary under this initiative. With the NEIVA, all funds accumulated this way will be funneled into the endowment and D\u2019Lan Contemporary has committed to donating between two and a half and 10 percent on future primary and secondary sales. Funds from the NEIVA will be managed by a trustee company and distributions will be guided by Indigenous visual art leaders. \u201cArt sales are often the primary source of non-government income for remote Indigenous Australian communities. The existing primary and secondary Indigenous art market, however, does not generate sufficient revenue to support both the artists and their broader communities. We want to change this,\u201d D\u2019Lan Davidson, founder of D\u2019Lan Contemporary, said in a statement. \u201cOur intent is to develop a market for a younger generation of Australian Indigenous artists and artist estates \u2013 both here in Australia and overseas \u2013 and to help support and develop the broader Indigenous art industry and their communities at the same time,\u201d<\/p>\n

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Dolly Parton pumps the brakes on a proposed statue of her in Tennessee<\/strong><\/h6>\n

Country music legend Dolly Parton has asked that she not be honoured with a\u00a0statue<\/a>\u00a0in her home state of Tennessee, at least not yet. As Tennessee lawmakers debated on what to do with a bust of Nathan Bedford Forrest, a Confederate general, Tennessean, slave trader, and leader of the Ku Klux Klan, held at the State Capitol, a state House of Representative suggested replacing Forrest\u2019s statue with one of Parton. Last month, those plans gained more traction receiving bipartisan support, but this week Parton asked that they not move forward. \u201cGiven all that is going on in the world, I don\u2019t think putting me on a pedestal is appropriate at this time,\u201d the singer and philanthropist said in a\u00a0statement<\/a>\u00a0in which she thanked the state\u2019s government for its consideration. \u201cI hope, though, that somewhere down the road several years from now or perhaps after I\u2019m gone if you still feel I deserve it, then I\u2019m certain I will stand proud in our great State Capitol as a grateful Tennessean.\u201d<\/p>\n

Dolly Parton sits with conductor Zubin Mehta and William \"Smokey\" Robinson Art World Roundup
Conductor Zubin Mehta laughs with singers Dolly Parton and William \u201cSmokey\u201d Robinson during a reception for the Kennedy Center honorees in 2006. Courtesy Wikimedia Commons | Photo: Eric Draper<\/figcaption><\/figure>\n

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Director and CEO of Indianapolis museum steps down amid controversy<\/strong><\/h6>\n

Following the publication of a controversial job advertisement for a position at the Indianapolis Museum of Art at Newfields, the museum\u2019s director and CEO, Charles Venable, has stepped down. In search of a new director, the museum listed an advertisement seeking a candidate who could \u201cattract a broader and more diverse audience while maintaining the museum\u2019s traditional core, white art audience.\u201d The language of the job listing was immediately condemned by members of the community and cultural workers, alike. The museum issued an apology and changed the wording of the listing to instead read \u201ctraditional core art audience.\u201d In a February 13th<\/sup> interview with The New York Times<\/em><\/a>, Venable admitted that explicit use of \u201cwhite\u201d was intentional. \u201cI deeply regret that the choice of language clearly has not worked out to mirror our overall intention of building our core art audience by welcoming more people in the door,\u201d Venable said in the interview. \u201cWe were trying to be transparent about the fact that anybody who is going to apply for this job really needs to be committed to D.E.I. efforts in all parts of the museum.\u201d However, an open letter<\/a> signed by almost 500 cultural workers and Indianapolis community members called for Venable\u2019s immediate removal.\u00a0 The letter in part stated: \u201cWe will not stand for performative measures, social media apologies, disingenuous recants of statements, virtue signaling, or blame shifting to third party vendors.\u201d On Wednesday, the museum issued a statement<\/a> announcing Venable\u2019s resignation.<\/p>\n

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Centuries old Venetian glass beat Columbus to North America<\/strong><\/h6>\n

Before Columbus sailed the ocean blue, as the mnemonic goes, a handful of blue glass beads from Venice may have made their way to North America. Mike Kunz of the University of Alaska Museum of the North and Robin Mills of the Bureau of Land Management published their findings in American Antiquity<\/a><\/em> after researching glass beads they\u2019ve found in Alaska. The beads, as well as a number of metal bracelets, were discovered in three different sites \u2013 including Punyik Point, a location along trade routes from the Bering Sea to the Arctic Ocean. A plant-based twine that wrapped one of the bangles was radiocarbon dated revealing that the plant was alive sometime in the 1400s. \u201cWe almost fell over backwards\u201d Kunz told<\/a> Artnet News<\/em> of when they found that out. \u201cIt was like, Wow!\u201d Ultimately, Kunz and Mills\u2019 research has led them to think that the beads, estimated to be around 540 years old, were brought to Punyik Point between 1440 and 1480. Some 10,000 miles from their Venetian origins, what remains a mystery is how the beads might have gotten to North America over a decade before Columbus in 1492. Kunz and Mills have theorized that the beads were likely traded between Italy and China. From there, the beads may have travelled to Russia\u2019s eastern coast before heading to what is today Alaska.<\/p>\n

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Venetian glass beads uncovered in Alaska. Photo: Lester Ross. Courtesy of Robin Mills.<\/figcaption><\/figure>\n

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In this week\u2019s Art World Roundup: Artfizz launches new art selling and buying platform that rethinks the secondary market, dealer John Brandler snags another Banksy, and D\u2019Lan Contemporary announces a new endowment to support Australian Indigenous artists. 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