Over the years, almost every new LEGO movie licensed theme has been created to match with a new theatrical release. In the case of big movie franchises, some sets based on previous films were produced before the ones based on the new films. This has happened with “STAR WARS”, “Toy Story”, or “Indiana Jones”.
So a good reason to release a fourth Jurassic Park movie was the chance to see LEGO products for the previous films, right?
Strangely, the last product license ignores the previous movies and is based only on the last film in the series, “Jurassic World”. It looks a lost opportunity for such a license deal.
The key elements in the Jurassic Park films are the dinosaurs, but the movies are also filled with lots of iconic vehicles, locations and characters with a lot of potential for a complete building toy line.
The biggest set in a utopian Jurassic Park Theme would be the Visitor Center.
This project features a complex building in the facade, as well as some rooms inside to recreate every scene in the movie. Check all features at: LEGO Jurassic Park, and you can turn this LEGO design into an actual product, by supporting the project. If it gets 10K votes, t will be evaluated by the LEGO group.
Yesterday, 66 surfers piled onto a 42-foot-long surfboard off the shores of Huntington Beach, California, affectionately nicknamed Surf City, to break the Guinness World Record for “Most People Riding a Surfboard at Once.
Happy Surfing Day to you all!
Despite predictions that the art bubble is about to burst after Steve Cohen dropped a whopping $141 million in May to buy a Giacometti at Christie’s, sales are brisk at Art Basel, where an estimated $3.4 billion in art is up for grabs.
A Christopher Wool painting reportedly went for $5.5 million an half hour after the show’s VIP opening Yesterday, and a Keith Haring sold for the same price. Pace Gallery sold out a Robert Rauschenberg presentation.
Leonardo DiCaprio stalked the booths of Larry Gagosian, Matthew Marks and others while puffing an e-cigarette. He powwowed with Jeffrey Deitch as collectors Peter Brant and Dan Loeb also circled.
Petzel Gallery of New York reports selling a Thomas Eggerer painting for $100,000, a Wade Guyton U Sculpture for $490,000, a Sean Landers painting for $100,000, a Charline Von Heyl painting for $150,000, an Adam McEwen graphite sculpture for $100,000, and various Jorge Pardo glass lamp sets for between $85,000-100,000.
Galerie Lelong made three sales for over 1 million Euro each: two Konrad Klapheck paintings and one Sean Scully painting, all to private collectors; the gallery also sold the 2.5 meter sculpture by Jaume Plensa as well as several paintings by Günther Förg and Etel Adnan.
Andréhn-Schiptjenko of Sweden reports great feedback for their booth featuring José León Cerrillo and Gunnel Wåhlstrand. Both works by Wåhlstrand, a very sought-after Swedish painter with a very spare production, were sold within half an hour of the opening.
Hannah Hoffman Gallery sold a Sam Falls installation during the opening of Unlimited along with Galerie Eva Presenhuber and Galleria Franco Noero.
Sean Kelly has had strong sales across the board including a Joseph Kosuth for 300,000 Euro.
Jack Shainman of Jack Shainman Gallery reports strong interest in in the work of Carrie Mae Weems, selling five Kitchen Table works by Carrie Mae Weems to a major American institution. “I am so pleased at the level of interest in the work of Carrie Mae Weems, particularly the level of recognition from European institutions. Sales have been brisk in the opening hours of Art Basel including the placement of works in top collections,” said Jack Shainman on his solo presentation of Carrie Mae Weems in Feature (T6)
Mnuchin Gallery sold Thomas Schütte’s bronze, artist’s clothes, and cord on steel base sculpture “Vater Staat, dressed” 2010 for $1.6 million.
Maureen Paley sold a 1984 acrylic on canvas titled “Mondo Cane 2 (Nine Figures)” by General Idea to a European Museum for 225,000 Euro. “Basel provides a curatorial framework based on the collections and museums in the town and nearby Zurich that provide context and set the mood for the fair’s high quality,” said Maureen.
Fergus McCaffrey has sold 12 works so far, including a Sadamasa Motonaga Oil on Panel for $650,000, from their booth presentation of masterworks by Post-War Japanese artists juxtaposed with important works by Italian avant-garde form the same period.
SUSANNE VIELMETTER LOS ANGELES PROJECTS sold their installation by Andrea Bowers to a major private collection in Europe. Her figurative pencil drawings were placed with private collectors in London and New York.
Lehmann Maupin reports: Three “thread drawings” by Korean artist Do Ho Suh, recently produced at the Dieu Donne artist workspace in New York, have sold in the range of $50,000-$100,000; Two totem sculptures by French-Algerian artist Kader Attia have sold in the range of 40,000-50,000 Euro. Attia’s newest sculpture, made of wood, mirror polished stainless steel, and aluminum, has sold in the range of 80,000-120,000 Euro; A new Hernan Bas painting, titled “The Flamingo Kid” (2015) has sold in the range of $100,000-$150,000; Tony Oursler’s LED panel piece “TER3” (2015) has sold for around $100,000; Two paintings by Brazilian artists OSGEMEOS have sold, one in the range of $80,000-$120,000 and the second in the range of $100,000-$150,000; A “Be Brave” (2015) neon by British artist Tracey Emin has sold in the range of £40,000-£50,000. An edition of her bronze sculpture, “The Heart Has Its Reasons” (2014) has also sold in the range of £100,000-£125,000 and a watercolor, “Sex 19 25-11-07 Sydney” (2007) was also sold in the range of £10,000-£20,000; One of Angel Otero’s new paintings, with imagery inspired by Pablo Picasso’s work, Took the bed out, Flew Kites and Saw the seeds grow (2015) has sold in the range of $50,000-$100,000; Shirazeh Houshiary’s newest painting, “Gist”(2015), has sold in the range of £100,000-£150,000; Two painting by Mickalene Thomas, both from 2015, were snapped up by collectors at prices in the range of $75,000-$100,000; An edition of Juergen Teller’s portrait, Joan Didion, Celine Campaign Spring Summer 2015, New York 2014 (2015), has sold for a price around £30,000; and the gallery has reserves have also been placed on works by Kader Attia, Mary Corse, Alex Prager, Tim Rollins & K.O.S., and Do Ho Suh.
The exhibition at the Fondation Beyeler is devoted to the extensive oeuvre of Marlene Dumas, with its focus on the human body. Offering a unique review of her work from the 1970s up to the present, it is to date the most comprehensive European retrospective of this eminent South African artist now based in Amsterdam. In addition to her iconic paintings and drawings, the show features a selection of experimental collages from her early work as well as some of her most recent paintings.
One of the things that distinguish the work of Marlene Dumas is her remarkable blend of immediacy and intimacy. She encounters human beings in her pictures without reservation, occasionally even in a provocative manner, sometimes with humor. She concedes autonomy to color but her eye and the image’s focus is always centered on the human figure. Her works impressively show what painting can still achieve in this day and age, undoubtedly making her one the most significant and interesting women artists of the present day.
Her individual as well her group portraits display a varied palette of shades and contrasts. Expressive colors alternate with almost transparent hues that appear to illuminate the canvas from within. At times her pictures render very fragile, seemingly lifeless beings but then again she does not shy from depicting mutilated bodies and strikingly expressive faces. Like no other, she shows how artistic beauty can also relate to scenes of dread and horror. In a row of new, hitherto unseen works she turns her attention more strongly to the relationship between figure and space.
For many of her paintings and watercolors, Dumas relies on a pictorial archive she began compiling back in her youth. She often refers to current political crises or pressing societal issues, but her archive also contains private family photographs, art historical references, as well as press photos. Based on photographs taken from newspapers and magazines she transforms the templates with her magic touch of the brush into stirring and gripping, often even sinister paintings on canvas – what the camera time freezes in photography, Dumas brings back to life in her paintings. Her pictures radiate a compelling and sensuous power which viewers find hard to evade.
The exhibition at the Fondation Beyeler was developed in close collaboration with Marlene Dumas. Following a rough chronological order it traces her development as an artist. However, the opening section of the show follows a different plot. The first room features a number of her key works such as The Painter (1994), The Sleep of Reason (2009) and The Artist and his Model (2013). In this way the artist herself guides the visitor through the show with its focus on her unbroken fascination for the human image in painting.