Майкл Шнейерсон - Бум. Бешеные деньги, мегасделки и взлет современного искусства

Слово slip имеет, в частности, значения «стапель», «аппарель». – Примеч. переводчика.

Holland Cotter, “Where City History Was Made, a 50’s Group Made Art History,” New York Times , January 5, 1993, www.nytimes.com/1993/01/05/arts/where-city-history-was-made-a-50-s-group-made-art-history.html.

Ibid.

Hans Namuth, Artists on the Roof of 3–5 Coenties Slip (left to right: Delphine Seyrig, Duncan Youngerman, Robert Clark, Ellsworth Kelly, Jack Youngerman, and Agnes Martin), ca. 1967, photograph, Hans Namuth Archive, Center For Creative Photography.

Alanna Martinez, “How Rauschenberg Elevated Tiffany’s Window Displays into an Art Form,” Observer , December 30, 2016, http://observer.com/ 2016/12/robert-rauschenberg-tiffany-windows/.

Grace Glueck, “Alfred Hamilton Barr Jr. Is Dead; Developer of Modern Art Museum,” New York Times , August 16, 1981, www.nytimes.com/ 1981/08/16/obituaries/alfred-hamilton-barr-jr-is-dead-developer-of-modern-art-museum.html?pagewanted=all.

Ibid.

В 1958–1959 годах выставка «Новая американская живопись» объехала восемь европейских стран.

Interview with Sidney Janis, October 15 – November 18, 1981, Archives of American Art, Smithsonian Institution.

Leo Castelli, interview, May 14, 1969 – June 8, 1973, Archives of American Art, Smithsonian Institution.

Annie Cohen-Solal, Leo and His Circle: The Life of Leo Castelli (New York: Knopf, 2010), 171, 176.

Ibid., 177.

Ibid., 361.

Titia Hulst, “The Right Man at the Right Time: Leo Castelli and the American Market for Avant-Garde Art,” (PhD diss., New York University, 2014), 67.

Cohen-Solal, Leo and His Circle , 122.

Hulst, “The Right Man at the Right Time,” 67.

Cohen-Solal, Leo and His Circle , 151.

Ibid., 178.

Ibid., 151.

Ibid., 186.

Hiroko Ikegami, The Great Migrator: Robert Rauschenberg and the Global Rise of American Art (Cambridge, MA: MIT Press, 2010), 21.

“The Ninth Street Exhibition – 1951,” in Art Now and Then , a blog by Jim Lane, September 6, 2015, http://art-now-and-then.blogspot.com/2015/09/the-ninth-street-exhibition-1951.html.

Marika Herskovic, New York School Abstract Expressionists: Artists Choice by Artists, a Complete Documentation of the New York Painting and Sculpture Annuals, 1951–1957 (Franklin Lakes, NJ: New York School Press, 2000), 13–14.

De Coppet and Jones, Art Dealers , 87.

Ibid., 88.

John Cage, Silence (Middletown, CT: Wesleyan University Press, 1967), 102.

Olivia Laing, “Robert Rauschenberg and the Subversive Language of Junk,” Guardian , November 25, 2016, www.theguardian.com/artanddesign/2016/nov/25/robert-rauschenberg-and-the-subversive-language-of-junk-tate.

Leo Steinberg, The New York School: Second Generation (published in conjunction with the exhibition of the same title, organized by and presented at the Jewish Museum, New York, March 10 – April 28, 1957), cover.

Ann Fensterstock, Art on the Block: Tracking the New York Art World from Soho to the Bowery, Bushwick and Beyond (New York: Palgrave Macmillan, 2013), 49.

Deborah Solomon, “The Unflagging Artistry of Jasper Johns,” New York Times , June 19, 1988, www.nytimes.com/1988/06/19/magazine/the-unflagging-artistry-of-jasper-johns.html?pagewanted=all.

Ibid.

Editors of ARTnews , “From the Archives: Betty Parsons, Gallerist Turned Artist, Takes the Spotlight, in 1979,” ARTnews , June 16, 2017, www.artnews.com/2017/06/16/from-the-archives-betty-parsons-gallerist-turned-artist-takes-the-spotlight-in-1979/.

Ibid.

Solomon, “Jasper Johns.”

Calvin Tomkins, Off the Wall: A Portrait of Robert Rauschenberg (New York: Picador, 2005), 131.

По поводу истинных масштабов этой коллекции единого мнения нет. См.: Carol Vogel, “A Colossal Private Sale by the Heirs of a Dealer,” New York Times , April 4, 2008, www.nytimes.com/2008/04/04/arts/04iht-04vogel.11673988.html.

Hulst, “The Right Man at the Right Time,” 154.

Ibid., 79.

Robert Sam Anson, “The Lion in Winter,” Manhattan, Inc. , December 1984.

Hunter Drohojowska-Philp, “Art Dealer Irving Blum on Andy Warhol and the 1960s L. A. Art Scene (Q & A),” Hollywood Reporter , November 4, 2013, www.hollywoodreporter.com/news/art-dealer-irving-blum-andy-653195. В 1962 году Блум стал единоличным владельцем галереи Ferus: его партнер Уолтер Хоппс перешел работать куратором в Художественный музей Пасадены.

Calvin Tomkins, Lives of the Artists: Portraits of Ten Artists Whose Work and Lifestyles Embody the Future of Contemporary Art (New York: Henry Holt, 2008), 178.

Emma Brockes, “Master of Few Words,” Guardian , July 26, 2004, www.theguardian.com/artanddesign/2004/jul/26/art.usa.

Cohen-Solal, Leo and His Circle , 367–369.

Эта работа 1960 года, также получившая название «Окрашенная бронза», формально находилась в частной коллекции Джаспера Джонса, но экспонировалась по решению автора в Художественном музее Филадельфии, пока в 2015 году ее не приобрели коллекционеры Мари-Жозе и Генри Крэвис. См.: Museum of Modern Art, “MoMA Announces Recent Acquisitions, Including ‘Painted Bronze’ by Jasper Johns,” press release, March 16, 2015, http://press.moma.org/2015/03/new-acquisitions-johns/.

Sidney Janis Gallery, Sidney Janis Presents an Exhibition of Factual Paintings & Sculpture From France, England, Italy, Sweden and the United States: By the Artists Agostini, Arman, Baj… Under the Title of the New Realists (New York: Sidney Janis Gallery, 1962).