Is Sotheby's 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?
NY Observer, October 8, 2013
The art world has officially joined the rest of the world in a maniacal obsession with celebrity culture.
NY Observer, September 4, 2013
Just because mega-galleries and well-endowed nonprofits are willing to finance big art doesn’t make it right, or even interesting.
NY Observer, July 9, 2013
Having quickly given up on the desperate need to see each and every one of the hundreds of art exhibitions and projects in town, I instead made a conscious decision to expose my delicate retinas to as little bad art as possible.
NY Observer, June 11, 2013
I’m not comfortable when things are upside down, and I never look the other way. New year, new beginning, time to think about what doesn’t make sense.
NY Observer, February 5, 2013
Here are a few art world surprises to remember, and some we’d rather forget.
NY Observer, December 19, 2012
I may be a cynic but I’ve been “hitting” the fairs for years, and even picked up a few choice pieces along the way.
NY Observer, December 11, 2012
Economist writer Sarah Thornton listed ten reasons why she will no longer write about the art market. Since I’m a consummate self-doubter, she made me wonder whether I, too, should stop writing about it.
NY Observer, November 16, 2012
With the success of these films we are left wondering: is there still any need for paintings?
NY Observer, October 27, 2012
Understanding the delicate balance between art and the art market is where the founders of Frieze have proven their mettle.
NY Observer, October 17, 2012
When you meet the present Peter Coffin, a tall, lanky man with sandy hair, you think of the sea; one can easily imagine him overlooking the open oceans, holding on to the standing rigging of a 19th century whaling ship in a North Atlantic storm.
NY Observer, October 5, 2012
When I mentioned the Met show to my psychiatrist, he asked me, “Do you even like Warhol, because I don’t.”
NY Observer, September 25, 2012
As far as Mr. Deitch is concerned, his transition from gallerist to museum director was a natural progression; he always put the artists first and the commerce second.
NY Observer, August 7, 2012
How I Roll, which has been somersaulting above Fifth Avenue at 60th Street for a few weeks now, is a monumental kinetic sculpture by the Italian artist Paola Pivi and, jaded New Yorkers notwithstanding, it’s remarkable.
NY Observer, July 11, 2012
Despite the highflying golden outliers, there is no bubble and there hasn’t been one since the one that burst in the 1990s. My prediction is that there will never be one again.
NY Observer, June 13, 2012
I came to love the work when I stopped focusing on the pictures and started thinking about the ideas.
NY Observer, May 16, 2012
As part of the Facebook generation, Mr. Israel is perfectly comfortable giving a campy and nostalgic embrace to L.A.’s history, while feigning ignorance of the tragic implications of living in the past.
NY Observer, April 25, 2012
Fine art is often held to an unrealistic standard, a mistaken belief that there is such a thing as “pure” art that exists outside the context in which it’s created and exhibited.
NY Observer, April 4, 2012
There must be some valid reasons not to like something that everyone else likes—even the Cindy Sherman retrospective currently at the Museum of Modern Art.
NY Observer, March 14, 2012
As strange as the idea of serving sushi in the Qatari desert may sound, that’s what the show felt like to me.
NY ObserverUncategorized, February 22, 2012
Can you imagine anyone writing: “we wanna Buy a kilo of cokeaine and could we pay with our platinum credit cards … The Mexican drug dealer says: No, Cash Only.”
NY Observer, February 8, 2012
In every size and color, the more the better: spots here, spots there, spots everywhere! Mr. Hirst makes his spots tall and he makes them small; they’ve flown here and there...
NY Observer, January 18, 2012
Perhaps with the end in sight people would find the courage to give up the current obsession with trophy hunting and status art and instead define their own tastes.
NY Observer, January 11, 2012
There was no one like you, nor is there likely to be: you created your own niche and your own style.
NY Observer, January 9, 2012
Art is for all of us to enjoy and celebrate and though I love parties as much or more than anyone, the “scene” of today feels more and more like it has overwhelmed the art we’re seeing.
NY Observer, December 21, 2011
Truth be told, we are all complicit in the art market in one way or another, and so to accuse and attack as if one were “holier than thou” is the role of a real hypocrite—it’s pointless and it’s not even funny.
NY Observer, December 7, 2011
Read the waterfall of press for my article: “Occupy Art Basel Miami Beach, Now!”... the good, the bad, and the indifferent.
NY Observer, December 6, 2011
This year marks the 10th anniversary of the Miami fair, and it’s an anniversary we shouldn’t celebrate.
NY Observer, November 29, 2011
The “real” art market that transacts underneath these inflated, theatrical prices is often struggling and slow...
NY Observer, November 16, 2011
I wondered if it was possible that after 10 years of collecting and studying I could miss out on the best art of my time. Was this a risk I could afford to take?
NY Observer, November 2, 2011
In short, I don't agree with Mr. Richter. His work is fantastic, and so it's well worth whatever someone could pay for it.
NY Observer, October 19, 2011
His 1950 masterpiece Excavation blows me away, as do the classic 'Woman' paintings, but so much of the show is been-there-done-that.
NY Observer, September 28, 2011
The Museum Expansionist Par Excellence is M.I.A., but His Legacy Lives On
NY Observer, September 6, 2011
Art has no tangible value. Its only value is cultural, and so it fluctuates wildly with fashion and the art historical mood of the moment. But is gold’s value any more real?
NY Observer, August 16, 2011
In a postcrash art world I have less faith in market momentum and my instincts have driven me to buy historic older artists and works that are out of favor.
NY Observer, August 2, 2011
The very reason why Mr. Saatchi, who should instead be lauded for what he’s done for art, is more often maligned by the “art world” is that he regularly sells anything he can.
NY Observer, July 12, 2011
The shows I was looking forward to disappointed me because of their presentations, whereas something I had no interest in was the most successful art I’ll see all summer.
NY Observer, June 21, 2011
If by now you’re getting the impression that the Venice Biennale has become one big, floating, art-selling, partying marathon, you’re not far off.
NY Observer, June 7, 2011
The Chinese take pride in their newfound economic might. Motivating them to buy our art won’t be the easy layup some dealers hope for…
NY Observer, May 31, 2011
All it takes is two bidders to chase a painting well past its presale estimate, and nowhere in any catalog does it say, "Please don't overpay."
NY Observer, May 10, 2011
The art he collected is an important part of his story, but not in the way the market perceives it to be.
NY Observer, March 29, 2011
In the age of Richard Prince car hoods, the Bruce High Quality Foundation's ambulance, Nate Lowman's hubcaps or Dan Colen's pile of Harley-Davidsons, there is no doubt that John Chamberlain's work is a reference we will find over and over again.
NY Observer, March 15, 2011
Mr. Hammons is no painter and doesn't care to be; he's making fun of painting altogether…
NY Observer, February 23, 2011
I see some artists as sprinters, and some as pole-vaulters or even shot-putters; I'll call George a marathon runner.
NY Observer, February 14, 2011
Works today are too often examined by potential clients through the eyes of their advisers, consultants, decorators, lawyers and accountants before any deal can be struck.
NY Observer, January 5, 2011
The acquisitive nature of the art collector is something that simple economic analysis can't account for. Sometimes two people fall in love with one work, bidding it to the moon.
NY Observer, December 14, 2010
Pawel Althamer is one of the best younger sculptors anywhere. But the booth was sold out by the time I could drag my own alcohol-and nicotine-saturated corpse over there.
NY Observer, December 8, 2010
I can't imagine a posthumous cast of a Jeff Koons "Celebration"-series sculpture, or of any living artist's work (Leftover John Chamberlain crushed car parts? An extra Tom Sachs Crying Hello Kitty?) for that matter.
NY Observer, November 23, 2010
Not everything the London collector buys can he sell, and these days he seems to be selling just about anything he can.
NY Observer, November 2, 2010
I'd rather see a museum experiment than just let the old masterpieces collect school tours and dust.
NY Observer, October 20, 2010
This has always been my ambivalence about Dan's work: It's really good, but somehow his act puts me off it.
NY Observer, October 6, 2010
He holds a special place in the world of design: He's famous, good-looking, represented by the biggest art gallery in the world…
NY Observer, September 15, 2010
It’s not enough to just shock our prudish bourgeois sensibilities; ‘dirty’ art is strongest when it leaves us wondering.
NY Observer, August 18, 2010
If Marcel Duchamp was the art world’s Einstein, Warhol used his formula to make the bomb, and changed the art world forever.
NY Observer, August 11, 2010
Isn’t it time for Matthew Barney’s handlers to bring him down from his ivory tower and allow him to mingle freely, and with confidence in his art stardom?
NY Observer, July 7, 2010
I found that the Chinese art scene is a whole new world, with different rules and different norms.
NY Observer, June 9, 2010
When it comes to art-collecting, you need to build your own mousetrap.
NY Observer, May 5, 2010
The days when a modest budget could allow the Sculls to scoop up some of the best art of an entire generation are over.
NY Observer, April 21, 2010
There is nothing the matter with Dakis’ financial support; it is helping a museum that needs it. No more guilt trips, please.
NY Observer, March 10, 2010
I saw Sylvester Stallone limping around the fair in a black suit, sporting tons of plastic surgery, with Jason Binn in tow.
NY Observer, December 8, 2009
Other Publications
  • padorange
Every single period of historic 20th century design history tells us something about who we were as a society, whereas contemporary design seeks to influence who we will be in the future.
Pad fair, November 11, 2011
  • art_newspaper_logo
Adam Lindemann Weighs Art Against Gold
The Art Newspaper, July 2, 2011
  • plum_magazine
Collecting both art and design tells you a lot about yourself, and becomes a way to express your own tastes and views vis-à-vis others. That’s why there are so many ways to do it.
Plum Magazine, July 1, 2011
  • Art-in-America-logo_001
These days I start my tour with shows of the tried and true, and hope not to find it tired and blue.
Art in America, May 28, 2011
  • Art-in-America-logo_001
A Grotjahn can hang next to just about anything—Delaunay, Picabia, Leger—and it's not going to bother anyone at the cocktail party.
Art in America, May 16, 2011
  • Art-in-America-logo_001
I once asked Urs why the bear needed to be in bronze, the most expensive and heavy material he could have chosen. He said in response, "This way, it will last forever."
Art in America, May 5, 2011
  • modern_magazine_logo
From MODERN, Spring 2011: Collector and author Adam Lindemann describes his foray into design, and comments on the state of the market.
Modern Magazine, March 26, 2011
  • vanity_fair_logo
After navigating a number of Swiss roadblocks, Ikepod was mine and Marc was on board, so we were off to the races.
Vanity Fair, October 1, 2010