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The announcement. (Courtesy Art Miami)

The Art Miami fair company today announced plans to create a new fair called Art Southampton, which will take place July 26-30 in its namesake Long Island hamlet with around 75 modern and contemporary galleries. A news release notes that the fair will be housed in a 75,000-square-foot pavilion “behind the Southampton Elks Lodge and adjacent to Mercedes Benz of Southampton.”

Art Southampton will compete in the summer fair game with Art Hamptons, running July 13-15 this year, and artMRKT Hamptons [sic], scheduled for July 19-22, which was started by Max Fishko and Jeffrey Wainhause, former employees of the conglomerate that owns Art Hamptons. Their launch of the fair prompted a legal battle last summer.

Do the Hamptons have enough wealthy collectors to justify three separate fairs on three successive weekends? We’ll see. Scope also used to operate there, though it shut down the branch of its fair in 2009, during the worldwide economic crisis.

 

Follow Andrew Russeth via RSS.

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topics: fairs, Art Hamptons, Art Miami, Art Southampton, artMRKT Hamptons

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Advertisers are getting mixed signals about what constitutes TV.

The medium once was represented largely by the Big Three, but is fast becoming (with apologies to Thomas Hardy) the Madding Crowd.

Our children and grandchildren will never know a time when television consisted of ABC, CBS and NBC, with a few local stations thrown in for good measure. The industry jeered in the 1980s, when News Corp.came along with what was considered a bold, quixotic move in launching a fourth network — Fox. (Though none of the rivals are laughing now, we suspect Rupert Murdoch wouldn’t attempt the same stunt in today’s media climate). It has become clear that marketers aren’t always envisioning the TV set when they figure out how to use motion-and-sound video to hawk their wares. TV’s biggest strength, the transmission of moving video to a national audience, has been usurped.

As a result, never before has the road to the upfront — that annual spring ritual in which the broadcast networks and their cable counterparts attempt to sell most of their ad inventory — been so crowded with interlopers. Just last week, word broke that Big Digital (that’s Microsoft, Hulu, Google’s YouTube, AOL and Yahoo) would attempt to stage its own confab with advertisers just weeks before the biggest TV networks do.

This isn’t the craziest endeavor. Yahoo has staged a similar event intermittently for years. But the combined heft of the participants tells us that nontraditional video concerns sense advertisers want — maybe even need — to spend on more than boob-tube advertising to get the job done.

It’s not hard to lump digital players who stream video into the “new TV” mix. But other, even less traditional combatants are trying to storm the arena. Cinema-advertising company NCM Media Networks is staging its own sales pitch on the Wednesday of Upfront Week — typically the same day CBS and Time Warner‘s Turner are in the spotlight. NCM will make the point that when TV viewership drops over the weekend, the movie screen deserves some consideration when trying to put an ad in front of a hard-to-reach 18-to-49er.

If video’s leap from living-room screen to other flat panels hadn’t been clear, it is now. The fog has lifted: Yes, it’s true that traditional TV continues to lure the biggest audiences, as with the Super Bowl broadcast on NBC. But it’s also true that more of what broadcast TV has to offer doesn’t strike the same chord it did two decades ago. Let’s be honest: If ABC aired “Love Boat” on Saturday nights today, it would probably do about as well as “Hart of Dixie.”

While following the video is a concept that’s pretty simple, the act of purchasing the video for commercials has only grown more complex.

In addition to the attempt by Turner and ESPN to plant the cable flag during the traditional “broadcast” portion of the upfront presentations, NBC Universal’s USA is taking over Thursday night. In past years, the CW’s Thursday-morning presentation usually tied a bow on the annual proceedings. Spanish-language TV is also rocking the boat, with Univision making its presentation much earlier than usual this year , holding forth on what has usually been ABC’s day.

Onetime TV advertisers will be assaulted on all sides. Video may be everywhere, but as a result, so are sales pitches.

Tuning In is an ongoing series of commentaries by Ad Age TV Editor Brian Steinberg on the TV schedule, the ads it carries and changes within the industry. Follow him on Twitter.

Advertisers are getting mixed signals about what constitutes TV.

The medium once was represented largely by the Big Three, but is fast becoming (with apologies to Thomas Hardy) the Madding Crowd.

Our children and grandchildren will never know a time when television consisted of ABC, CBS and NBC, with a few local stations thrown in for good measure. The industry jeered in the 1980s, when News Corp.came along with what was considered a bold, quixotic move in launching a fourth network — Fox. (Though none of the rivals are laughing now, we suspect Rupert Murdoch wouldn’t attempt the same stunt in today’s media climate). It has become clear that marketers aren’t always envisioning the TV set when they figure out how to use motion-and-sound video to hawk their wares. TV’s biggest strength, the transmission of moving video to a national audience, has been usurped.

As a result, never before has the road to the upfront — that annual spring ritual in which the broadcast networks and their cable counterparts attempt to sell most of their ad inventory — been so crowded with interlopers. Just last week, word broke that Big Digital (that’s Microsoft, Hulu, Google’s YouTube, AOL and Yahoo) would attempt to stage its own confab with advertisers just weeks before the biggest TV networks do.

This isn’t the craziest endeavor. Yahoo has staged a similar event intermittently for years. But the combined heft of the participants tells us that nontraditional video concerns sense advertisers want — maybe even need — to spend on more than boob-tube advertising to get the job done.

It’s not hard to lump digital players who stream video into the “new TV” mix. But other, even less traditional combatants are trying to storm the arena. Cinema-advertising company NCM Media Networks is staging its own sales pitch on the Wednesday of Upfront Week — typically the same day CBS and Time Warner‘s Turner are in the spotlight. NCM will make the point that when TV viewership drops over the weekend, the movie screen deserves some consideration when trying to put an ad in front of a hard-to-reach 18-to-49er.

If video’s leap from living-room screen to other flat panels hadn’t been clear, it is now. The fog has lifted: Yes, it’s true that traditional TV continues to lure the biggest audiences, as with the Super Bowl broadcast on NBC. But it’s also true that more of what broadcast TV has to offer doesn’t strike the same chord it did two decades ago. Let’s be honest: If ABC aired “Love Boat” on Saturday nights today, it would probably do about as well as “Hart of Dixie.”

While following the video is a concept that’s pretty simple, the act of purchasing the video for commercials has only grown more complex.

In addition to the attempt by Turner and ESPN to plant the cable flag during the traditional “broadcast” portion of the upfront presentations, NBC Universal’s USA is taking over Thursday night. In past years, the CW’s Thursday-morning presentation usually tied a bow on the annual proceedings. Spanish-language TV is also rocking the boat, with Univision making its presentation much earlier than usual this year , holding forth on what has usually been ABC’s day.

Onetime TV advertisers will be assaulted on all sides. Video may be everywhere, but as a result, so are sales pitches.

Tuning In is an ongoing series of commentaries by Ad Age TV Editor Brian Steinberg on the TV schedule, the ads it carries and changes within the industry. Follow him on Twitter.

Twitter was on fire at Sunday’s Grammys — until Jennifer Hudson took the stage.

The velocity of tweets during the live broadcast peaked at 10,901 tweets per second, according to Twitter, just a few thousand below the Super Bowl’s new record of 12,233 tweets per second during the big game. But the buzz was silenced during Ms. Hudson’s tribute to Whitney Houston.

Jennifer Hudson

–>

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“Once Jennifer hit the stage, all traffic came to a complete stop. People stopped talking and they listened,” said Beverly Jackson, director of marketing and social media for the Recording Academy, at a Social Media Week panel Wednesday in New York. Talk around the tribute, she added, while diverse, was mostly positive, with 81% favorable sentiment. Social-marketing company Mass Relevance helped tally the numbers.

Following Ms. Hudson’s performance, engagement ramped back up and capped at 3.9 million explicit #Grammy mentions. The broadcast probably got a viewer boost because of Ms. Houston’s untimely death, but the night belonged to Adele, who dominated Grammy wins (six) and the conversation with 2.5 million mentions — 500% more than any other artist, said Ms. Jackson. (Rihanna, Chris Brown, Nicki Minaj and Ms. Houston round out the top five.)

A strong social-media presence leading up to the awards helped the Recording Academy pull off a success. Working with Facebook, Instagram, YouTube, Tumblr, Google and more, the Grammy team implemented a strategy that targeted viewers’ favorite online destinations. “We wanted to be everywhere they were,” said Ms. Jackson. This was the first year the Grammys worked with both Pandora and Shazam, which let viewers tag music from performances. Pandora noted that there have been 4 million Adele stations created since the singer’s throat surgery last year to her return at the Grammys.

Grammy Live, an extension of Grammy.com, gave viewers videos of red-carpet and backstage footage and untelevised acceptance speeches. The Grammy iPad app became the top arts and entertainment app, proving viewers were more engaged with the show via their tablet this year, according to Ms. Jackson.

The Grammys doesn’t pay for Facebook ads or promotional tweets; instead, several contests and promotional events help build excitement. Referring to the Grammys’ online presence, Ms. Jackson likened it to “a brown egg in Whole Foods — it’s all organic.”

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February 16, 2012  |  Contemporary Galleries: 1980–Now

A Few More Ways of Looking at a Keith Haring

Posted by Samantha Friedman, Curatorial Assistant, Department of Drawings

Keith Haring. Untitled. 1982. Ink on two sheets of paper, sheet: 72 x 671 1/2″ (182.9 x 1705.6 cm). The Museum of Modern Art, New York. Gift of the Estate of Keith Haring, Inc. © 2012 The Keith Haring Foundation

The monumental 1982 Keith Haring drawing Untitled is not often on view, so its inclusion in the Museum’s current installation Contemporary Galleries: 1980–Now seems like an ideal opportunity to think about how this artist’s iconic visual language fits into the larger story of 20th-century art.

Resolutely horizontal, this ink drawing on two sheets of paper stretches out to over 50 feet in length. Its frieze-like composition relates to the public aspect of Haring’s project, evoking the graffiti drawings he contributed to New York City’s subways and sidewalks in the 1980s. At first glance, the intricate web of marks overwhelms with its graphic totality; looking closer, Haring’s trademark icons emerge from the overall design.  Winged men and dancing dogs, three-eyed aliens and hovering spaceships, wriggling snakes and epic phalluses, lightbulbs and nuclear symbols, all populate the drawing.

The work is pinned across three walls on MoMA’s 2nd floor in a truly immersive presentation. Shown alongside work by Haring’s contemporaries such as Jeff Koons, Martin Wong, and artist-run collectives like ABC No Rio and COLAB, the drawing can be appreciated in its art-historical and social contexts. Important to understanding any art, these frameworks are especially crucial for Haring, whose aesthetics turned increasingly toward activism after he was diagnosed with AIDS in 1988.

It’s also worthwhile, I think, to consider Haring alongside other brethren—artists whom he might not have (or couldn’t have) known chronologically, but with whom he shares something formally. Walking out of the 2nd-floor galleries, for example, I couldn’t help but reconsider the Brice Marden mural hung high in the Agnes Gund Garden Lobby in relation to the Haring I’d just seen. Though emphatically abstract, Marden’s The Propitious Garden of Plane Image, Third Version (2000-06) shares not only the Haring drawing’s scale and format, but also its all-over, calligraphic sense of line.

Another horizontal work often hung in the lobby is Joan Miró’s Mural Painting (1950-51). If any other artist has as personal and recognizable an iconographic language as Haring, it’s this Catalan Surrealist. Miró’s dual interest in automatism and anatomy aligns strikingly with Haring’s own use of line to render the body in shorthand. Miró’s simplified, even cartoonish, personages with their priapic protuberances anticipate Haring’s own recurrent characters.

In the audio guide for Haring’s drawing, Julia Gruen, once the artist’s friend and studio manager and now the Executive Director of the Keith Haring Foundation, remarks that when Haring “put the brush to the paper, it simply flowed down his body, out the brush in this extraordinary continuous movement.” This description evokes the language regularly used to describe Jackson Pollock’s kinetic application of paint in canvases like One: Number 31, 1950 (1950; currently on view on the 4^th floor). But perhaps the earlier Pollock drawing Sheet of Studies (c. 1939-42), in which he fills the sheet with icons ranging from Jungian archetypes to Picassoid quotations to purely graphical marks, is an even more fitting forerunner.

Tags: drawings, Keith Haring

Comments

February 16, 2012, 2:02 p.m.

Today marks the 22nd anniversary of Keith Haring’s death. Thank you for this expanded commentary and contextualization of the remarkable work you have on view.

Posted by Julia Gruen